Exhibition: May 28–August 13, 2016
Opening Reception // Saturday, May 28th from 7-9pm with Both Artists in Attendance
“Is the narrative you now possess really and truly your own? Are your dreams really your own dreams? Might not they be someone else’s visions that could sooner or later turn into nightmares?” -Haruki Murakami
Curator Mindy Solomon states: “I woke up last night after two seemingly prophetic dreams. In the first, I was called to the phone because of the impending death of a family member; and in the second, I was impossibly stalled getting to my critical destination, which in turn caused me to be late for one of the most important events of my life. The stagnancy of time and the thick, almost soupy like feel of the atmosphere in which I found myself pushing through, left me feeling bereft and sullen upon actual waking. The lingering memory of the dreams hangs on me even now, several hours into a reasonably productive day. No doubt, current life circumstance is playing havoc on my subconscious, and the subsequent transferral of nervous energy, which has informed my every task. Artists also transform the sacred to the profane, moving dream and story through complex neural circuitry until the ideas find a tangible surface to be displayed upon. Does this purging of visions lessen the psychological burden of these memories and experiences? Artists Geandy Pavón and José Manuel Mesías, bend and twist imagery in ways that become extrapolated manifestations of reality and historic memory.”
Geandy Pavón describes his newest body of work, Political Fold as follows:
“In my opinion, the effectiveness of an image is inscribed in its potential as a ruin. I am interested in revealing the conceptual strength of an image by turning it into a ruin. I have found, in the classic media of painting, the most effective way to perpetuate this moment.
“Recently, I have developed a series of works in which I use archival photographic material which I wrinkle, cut, or fold to be used as a model for my paintings. The subject portrayed in each photograph allows me to travel from one genre to another, such as landscapes or portraits, but always conceived from the perspective of a still life painter.”
Pavón de-mythologizes symbols of history, capitalism, and government as a means of drawing the viewer into deeper narrative introspection.
José Manuel Mesías‘ work in About the Absolute Truth revolves around the idea of art as a means of exploring the unknown. Through detailed observation of objects, spaces, and people close to his daily life in Old Havana, Mesías looks for a passage through the thick tissue of the “real world,”probing his disturbing and disquieting inner monologue. Silent and mysterious large-format paintings, expressionist portraits, and small textural objects both found and fabricated, are the main focus of his oeuvre. The integration of the decaying beauty and deterioration of his urban environment inspire him to create psychologically charged tableaus.