JULY 12th to AUGUST 13
main gallery and black box
Shelley Miller: REFINING HISTORY
vitrines
Krystel Marois: Le vide
vernissage: thursday, july 15, 5 à 7
Shelley Miller: REFINING HISTORY
- A continued investigation into the history of sugar and its links
to slavery and colonization.
Works begun in Brazil between 2006-2009 are furthered here with a
move from her earlier baking references into the digital as ideas of historicity
and degradation over time are amplified and extended.
The persistent reference in Miller’s work to the traditionally coded
feminine practice of baking is augmented with the unpacking of other and exchange.
Much of these works reference traditional azulejo tile murals that are common in both Portuguese
and Brazilian culture and depict a colonial past that links these cultures together. Miller's sugar
facsimiles of these dystopian decorative architectural references address larger issues of excess,
desire, waste, consumption and specifically here, the connection between the history of sugar
with the history of slavery.
The FOFA GAllery exhibition will feature large scale photographic prints of “The Wealth of Some and the Ruin of Others”, a ceramic tile installation,
“Historia Azulejado”, cast sugar sculptures, and a multimedia installation of “Cargo” that allows viewers to overlay images of the sugar tile mural with image tiles from varying states of decay. The images capture
the essence of the original sugar mural and speak to the ephemeral nature of memory and history. By allowing visitors to move the square image tiles, Miller is encouraging the retelling of history
as how images are juxtaposed or omitted can greatly modify interpretation, not unlike the construction
and destruction of memory and history itself.
http://www.consumptuous.com
http://www.consumptuous.com/blog
York Corridor Vitrines
Krystel Marois: Le Vide
“In her landscape works, Marois expands on her work in portraiture and delves
into the physical and personal terrain. Questions of interior and
exterior narratives are once again present in these works where
natural, geographical landscapes reflect emotional, private ones
which bring to light the interconnectivity of all life systems.
By stitching portraits with environmental scenery, Marois calls
attention to the sublime and cinematic qualities of land and the
very real existence of these qualities in the human spirit. These
photographs, shot in a wide format though physically, spatially
close to the subject, are provocative and enigmatic: they free
the subject from the confining interior spaces found in her portrait
series’ and allow them freedom en plein air.”
Extract - Olivia C. Pipe
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