present

Three Solo Exhibitions

July 7 - August 11, 2018

Wednesday - Saturday, 12-6pm

 

Ciriza | Oneiric Caves Gush Multiplicity

 

A black bed of horsehair, braided, roped, and woven into a bodily armature, sits atop an ancient expanse of sand. Within, she wakes. She suits herself in the braided bodice and rides out to sea, her footsteps limning the perimeter of sleep. She sings the tyrannical storms, exhales the gusts of raging winds, and electrifies the night in her undisguised intensity. She is the gatekeeper of death, the governor of change.

Spirits of Yoruban orishas anchor Ciriza’s work, as their stories and symbols offer paths toward cathartic transformations. Rooted in the medicinal, sculptural works illuminate the possibilities of healing and metamorphoses within the opacity of shadow and murk. Planetary materials such as clay and bismuth are transmuted to reveal alchemical mysteries. Like wrinkled skin deteriorating, a large latex drapery silently cries its secrets in Braille. Emboldening myth by twisting the wires of reality, Ciriza holds reverence for the primordial forces that have informed her. Small units—braids, beads, small casted geodes—collectively amass to a great offering of the handmade that awakens the dormant secrets and memories of a silenced ancestral past. O​ neiric Ca​ ves Gush Multiplicity is a manifestation of how the artist both harnesses and yields to the visionary power of the plutonian blue.

Ciriza​ is a multidisciplinary artist and a birth doula. She works in the realms of dreams, symbolism, mythology, ancestry, animism, and alchemy. Her works are explorations of states of fluidity and transmutation; the slippery, elusive, and anomalistic spaces materialize in tactile and visceral forms. The result is otherworldly, a connection to the infinite where phantasmagoria becomes tangible, familiar, and feral. Ciriza’s instruments are performance, film and video, sculpture, installation, sound, and drawing. Her performances are a distillation of raw energy in ritualistic catharsis: a theater of the primordial, through which she uses the body to explore the fragile threshold between being and not being. Her hope is to offer abstract medicine through sensual forms.

 

Paula Wilson | PIECESCAPE

 

The yuccas are blooming in the high desert plains, the apache plume in the hills. I go on a treasure hunt -- cutting through paintings, crossing the tracks, picking up clues. My manilla folder is filled with remnants of past artworks. They live with me. They find life in homes, gardens, and trails. They breathe; they have sex. They live on the land that has m​any names. —Paula Wilson

Inspired by the broken, the discarded, and the thrown away, Paula Wilson remixes pieces of past artworks to assemble new possibilities. Wilson lives in Carrizozo​, ​a tiny railroad town founded in 1899 in the high desert plains of New Mexico. Found pottery shards, rusted metal, broken glass, and plastic trash are reimagined as possibilities, puzzles and patterns. Remnants of her artistic production are printed, cut, pasted, and collaged—​ t​ heir meanings relationally transformed by prepositional shifts. PIECESCAPE generates a new economy of objects after they are

abandoned—​ ​they riff—​ t​ hey gather to resuscitate one another’s lives, each working to mobilize refusal. Each piece is a doorway into an incalculable past. Here is a wild cacophony of escape​—a​ n outlaw’s myth refigured in jazz via improvisation and convivial collaboration. T​ hose cast aside and deemed improper convene in their transgression to make pivots of joyful use.

Paula Wilson​ is a visual artist whose multimedia practice employs an extensive range of techniques to explore perceptions of light, form, and the body in space. Wilson’s work varies widely, encompassing video, densely layered collage, painting, installation, and printmaking methods. Her subject matter is equally multifaceted, drawing inspiration from real and invented cultural histories and identities exploring myth, race and the dimensions of femininity. Her work is included in the collections of The Studio Museum Harlem (New York), Yale University Art Gallery (New Haven), Mildred Lane Kemper Art Museum (St. Louis), Tang Museum (Saratoga Springs), and Saatchi Gallery (London), among others. Previous solo exhibitions have been at The Bemis Center of Contemporary Arts (Omaha), Emerson Dorsch Gallery (Miami), Cherry & Lucic (Portland), The Fabric Workshop and Museum (Philadelphia), and the Center for Contemporary Arts (Santa Fe). ​Wilson is a recipient the Joan Mitchell Artist Grant, Art Production Fund’s P3Studio Artist-in-Residency at the Cosmopolitan in Las Vegas, and the Bob and Happy Doran Fellowship at Yale University. ​She holds a Masters of Fine Art from Columbia University and presently co-runs the artist-founded organization MoMAZoZo and the Carrizozo Artist in Residency.

 

 

Julia Schwartz | tenderly cradled and lavishly flung

 

Tragedy transforms the quotidian into a quest for meaning making; ordinary things once belonging to someone irradiate into coveted and sacred assets. Life’s trajectory is no longer linear, and passage through time becomes a scatter of moments: nurturing fascinations with butterflies and milkweed, catching ghost cats in the corner of the eye, valiantly elongating time through foolhardy and rep​etitive tasks.​ Fooled by flutters of hope dancing too close to the edge, what w​ as, swallowed whole, lives in the rib cage of grief.

Julia Schwartz’s paintings on repurposed and recovered surfaces are an attempt to shift away from painful remembrance into a monument of play. Images of cats, girls, and dots decorate the surfaces of various objects; they evoke adolescent tenderness. Things live on in the reliquary, and it’s messy. They build on top of one another and grow to become larger than life: a construction and a site through which the dream of the now is realized. Through her work, Schwartz endeavors to make sense of the perpetual fragmentation of grief by insisting on the permanence of the hopeful light of what is.

Julia Schwartz​ lives and works in Santa Monica. Deeply influenced by years of psychoanalytic study and practice her paintings straddle figuration and abstraction. She has exhibited nationally and internationally, including Los Angeles, New York, Dallas, Amsterdam, London, and Cyprus. Recent exhibitions include “Near to you” in Pelham, New York “Imaginary vacation on an imaginary lake” at galerie cerulean, and “Night Divides the Day” at PØST. Curatorial projects include "Place Made Visible" in Bushwick, NY (2014) and "States of Being” at the Torrance Art Museum in 2015 and "Black Mirror" at Charlie James Gallery (2017.) Schwartz received the Foundation Prize for Painting from Peripheral Vision Arts in 2016. Her work has been featured in Studiocritical, Ithaca MOMA, Fabrik, Huffpost, Whitehot Magazine, and Artweek LA. She has been included in New American Paintings and listed on 1000 Living Painters. Schwartz is the Arts Editor for Figure/Ground Communication, and is currently on the Advisory Board of Fine Arts Complex 1101, a Contemporary Arts Museum in Tempe, AZ.