Tag: visions of yore

The Love Story Machine by Allyson Seal

We had a great amount of participants for Allyson Seal’s Love Story Machine at the opening for Visions of Yore.  Seal’s installation is available for weddings, events, bachelorette parties, company events, etc. This includes a $700/3 hr rental for set up, transportation within the Bay Area, staffing and your own personal archive of guests’ stories to keep. It will be available for sign up and rental during the auction this coming Saturday.

 

 

 

(Photos courtesy of  Brad Bernhardt and David Young Kim)

If you haven’t had a chance to see her work, read on for her artist statement about the installation:

“We like telling stories—girl meets girl; girl loses girl; girl wins girl back. Or girl learns that heartbreak, like love, changes everything. We revel in the disturbance inherent to a good story, in the disequilibrium between two people, between many people. This unbalance brings drama, promises myriad moments of crisis where one thing becomes another.

 Love Story Machine endeavors to explore relationships between people, memory and language, to work intuitively with our instincts to organize the universe, and to embrace the great abstraction that unifies us all—love. This installation began as a collaboration between Allyson Seal, Bailey Smith & Elspeth Stowell. And, of course,  the larger community.

 The project asks participants to create a card for the catalogue that explicates a personal love story in a brief but evocative manner. The format of the card mimics the style of card found in the outmoded card catalogue. Once the story is written and titled, each participant is asked to categorize his or her narrative using the dewey decimal system. The goal is to amass a substantial collection of vignettes that map out our collective humanness.

We believe that we can accomplish more together than we can alone. Community and collaboration are ecstatic occasions. Both provide organic structure, boundaries composed by all players. Art and community create a place of incandescence even as it is heartbreaking, alienating, a vast landscape without a map.”

Dan Herrera

It’s been a pleasure coming into contact with Dan Herrera ever since his work was selected for Visions of Yore. He has a fantastical series of work, entitled the Vaudeville series. Two images from this series are a part of  the Visions of Yore exhibition.

Continuity

His work uses time based media and a claiming of non-conventional space to explore transition and transformation. By carving out spaces for humans to hide in from non-conventional materials and using the recreation of memory in video form, he studies different eras of life- from childhood to adolescence to adulthood. He uses work to represent how time (and the passing of time) exists spatially and how memories of certain instances can never tell an entirely truthful story.

Herrera has a 2 person show coming up Viewpoint Gallery where he will be exhibiting all images from this series. Come check out his work in our auction next Saturday the 28th!

Visions of Yore in the SF Art Enthusiast

A big thanks to the folks of the SF Art Enthusiast for their review of Visions of Yore!

Those photos look great!

Lecture and Performance Tomorrow in the Gallery!

Gallery Hijinks is pleased to present this Friday the 13th a lecture by Renée Gertler and performance by Clint Sleeper and Audrey Love as Robot Versus Future.

Gertler is a San Francisco based artist and has shown in exhibition spaces such as Eleanor Harwood Gallery, Patricia Sweetow Gallery, Romer Young Gallery and Southern Exposure. She received her MFA from California College of the Arts and has had residencies at MacDowell and Kohler Arts and Industry. She was also the recipient of a Danish Arts Council Grant and a fellow at the Kala Institute. Her work delves into the magic of the natural world in terms of how we experience and understand natural phenomena; as well as how science can dissect these occurrences. Gertler’s lecture will focus on the themes found in the current exhibition in Gallery Hijinks, Visions of Yore, in conjunction with her work, as well as elaborating upon her personal artistic practice.

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Following Renée Gertler’s lecture a collaborative piece by Robot Versus Future will begin around 8:30pm. RVF is made up of 2 artists, Audrey Love and Clint Sleeper, who have been combining their artistic interests and skills in technology, sound art, and video for 2 years as a collaborative duo. Their performance, entitled Embedded Transport, is a performance of pre-recorded sounds and images from transitional and transportive spaces. A live mixing of recordings from hallways & highways, tunnels & trains – spaces where the artists most often find themselves alone and pensive about the past. The piece utilizes instrumentation, found sound, projection, and a variety of playback devices to encapsulate the performers and audience in sound.

Join us for an exciting evening! Doors open at 7pm and admission is $10.

Margo Duvall

We’ve had a lot of beautiful installations in the gallery windows and I’m excited to put more amazing work by Margo Duvall in them. Margo has been perfecting and perfecting her photo transfers on different mediums and I’m thrilled to showcase her work which uses lights and the fantastic sunlight that comes into Hijink’s windows.

Margo investigates the role of photography as a means of documentation for moments that have passed, on both personal and historical levels. Photographs, however, also provide us with a false sense of security. Time moves on, photographs fade, people die, and memory deteriorates. Duvall’s delicate installation both reference the fragile and time sensitive elements of memory and photography’s role in this process.

Margo Duvall: We take pictures because we want to remember. We want to remember what someone looked like, our first day of school, our parents, and other significant moments, people, and events in our lives. We want to preserve the moments we fear will inevitably grow dim. We want to be remembered after we die, and photography serves us as a form of immortality.

Photographs provide us with proof that something once happened. They serve as documents for moments that have passed, on both personal and historical levels. But they also provide us with a false sense of security. Time moves on, photographs fade, people die, and memory deteriorates.

My interest in the role photography plays in our memory came about in a box at an antique store. There, I pieced together moments of a man’s life from his childhood through his elder years. Snapshots have become the residue, the evidence of our experiences. How does something so valuable, so representative of a person’s life, wind up as a commodity for sale in an antique store?

This work is an attempt to sustain the fleeting moments of families and lives. My desire to preserve photographs as memory in an unchanging state is symbolized by the selection of the materials used to encase them. The transparent medium simultaneously protects the image and retains a sense of memory within itself- acting as a skin containing and encompassing traces of where it has been. It holds information, immersed beneath the surface, which can be seen upon inspection. This acts much like our memories, in that the clues are there, but they are not always recognizable or understandable.

The images in this show are fragments in time. They become layered, obscured, and complicated by association with other moments. The invitation is open for the viewer to encounter these memories, discern the histories, create their own narratives, and be inspired to stimulate their own memory.

Lurk some Daryll Peirce

We’re excited to have a piece by Daryll Peirce for Visions of Yore, opening on July 7th. When I was reviewing his submission for the show I was enthralled by his artist statement and the depth that it brought to his piece. Very rarely am I drawn to work where I don’t know the process and circumstances surrounding its creation. After reading his statement I felt every emotion and intension surrounding the work.

Daryll Pierce dives into his mental and physical state for the past 18 months, culminating with a layered painting documenting his past and process. Representing both a sense of gnawing sleeplessness that feeds his dark side and blissful moments of dreamlike consciousness, it is a meditative statement urging us to move forward no matter the obstacles.

Daryll Peirce: Recently I finished this painting, “The Vulnerability Evoked in Failing to Capture the Mind’s Ceaselessly Combusting Ephemera” and damn it felt good. My focus had been steadily worsening over the past few months and I just couldn’t seem to keep a single thought in my head, or stay on task for more than a couple minutes at a time. Quieting the mind was impossible and thoughts were entering and flying out of my head at a rate comparable to a hallucinogenic journey. I was feeling, defeated, tired, weak and desperate to grasp a hold of my sanity above the surface while weight steadily tugged me under. I’d honestly thought I was beginning to lose my mind and started seeking help.

Shifting from a self destructive workaholic night owl into a parent and provider was a hell of a transition this past year and a half. Since becoming a father, my love, dedication, fear and “scatterbrain-ness” have intensified tenfold. Our daughter is incredible, but unfortunately not a sleeper. It’d been 1.5 years and my little gal still had yet to sleep through the night. I’m not complaining, just saying it’s been really nice these past couple weeks now that she’s learned to self-sooth and finally sleep through to the early morning. Since then, much of my clarity has returned and I can focus on tasks again such as typing this. So looking back, lack of sleep was definitely the biggest culprit. Also, multiple injuries kept me from exercising and my ever-amassing workload kept me from leaving the house/studio very often. No bueno.

I started this particular piece some time ago and put it on the back burner. In hindsight, I suppose I had a hard time getting back to it because it reminded me of all the frustrating roadblocks I was going through that would lead to this end result. Also, more and more time was lapsing since my last series while I conceptualized, sketched and accumulated materials for upcoming large scale and longer-term projects. I’m excited about the upcoming work, but it doesn’t provide the satisfaction achieved by a timely completion.

Something weird happens if I don’t paint for a month or so. As each day passes it get’s harder and harder to get back into it. Fears start to creep in and the self introspection and questioning arises that, unfortunately for me, tends to lean on the darker side. Compound that with the frustration of the business side of art and other hindrances that cloud inspiration and fuel procrastination and I soon begin to over-analyze everything to the point of exhausting apathy. It gets easier to ignore your fears and handle life’s boring, sometimes mindless tasks instead of delving back inside your own head to confront everything that’s been bottling up and still waiting for you there.

Although I do often enjoy art-making, for the most part it’s extremely stressful. The sketching and conceptual side and the gratification of finishing are really the only parts that don’t make my stomach seize up and riddle my mind with anxiety. It’s not relaxing in any way to constantly confront your fears and analyze, evaluate and dissect yourself and what you put into this world. No happy little trees over here (RIP Bob Ross). That said, I know that being hard on yourself and forcing unrealistic pressures into your daily life is stupid, pointless, and nothing but a self-induced sword over your head, but it’s all I know and in the end is the reason my ideas actually come to fruition.

So, I’ve learned a few things in writing out these thoughts. It’s best to never stop producing, try your best not to be hard on yourself, and sleeping is really fucking important.

Photo above by Shaun Roberts

Visions of Yore Artist: Alexis Arnold

 

Alexis Arnold creates books frozen with heavy crystal growth that can be seen as artifacts or geologic specimens laden with the history of time, use, and narrative. Stories often exist in our memories while a book remains a spine on a shelf. Often we shape our experiences and thoughts from specific stories that play into our memories and thought processes. Arnold creates a fanciful way of regarding stories and their roles in our present and past experiences.

 

Arnold is a sculptor and installation artist interested in the visual displays of decay and growth, as well as time and history as physical entities. Objects, whether undisturbed for long periods, in frequent use, or victims fallen to incidents such as fire or flood, have their own life cycles of accumulation and decomposition.

Arnold creates these changes over abbreviated time frames through catalyzed natural processes, such as crystal growth or forced oxidation, in an effort to see objects in a new way, with a new history. In addition to a range of casting materials, her work often includes found objects (bones, books, bicycle wheels, kitchen paraphernalia, crab shells, etc) with crystals grown on them. The crystal growth highlights or creates the aesthetics of these once-utilitarian objects that are entering the world of obsolescence, as well as acts to suggest past and future narratives laden with memory, wonder, and the interminable progression of time.

Artists from Visions of Yore: Erin Mitchell

Get ready for some posts featuring our artists selected for the upcoming show, Visions of Yore.

First up…Erin Mitchell.

Black and Blue, 2010, Silkscreen on paper, 30 x 40 inches

Erin explores the disorientation and distortion linked to the psychosomatic experience of trauma. She creates forms and spaces that re-envision this complex experience, often aligning themes of the unharnessed chaos and force of natural disaster with the memory and intimate experience of personal “disaster.” Mitchell’s work plays on the lines between abstract and figural, excitement and agitation, and seduction and violence. While often evoking a paralyzing fear of immobility or emptiness, these pieces also flash and rupture with a manic vulnerability – and a strikingly human pulse.

Her process is often key to its conceptual fabric. Her pieces start with the instant transfer of pulling a silkscreen print. This action is recorded as a snapshot in time, a mark of something that has happened, but lingers, physically, on the page. The rest of piece is built out from the visceral and emotional response to this moment, like a recurring dream or memory that continues to seep into and intervene in our present thought and action. In her pieces Black and Blue, manipulated silkscreen monotype is the only technique used, while Agape features a steady build-up of different media (including ink, graphite, colored pencil, gouache, and watercolor in addition to its preliminary silkscreen) and of detail that mirrors the conceptual revisiting and rehashing of memory.Conceptually, both pieces speak to the high drama of memory, where even a small incident can swirl like an impending whirlwind. Our personal tribulations take on an ego of their own; as a result, we become isolated in the wasteland of the past, trying again to make sense of the pieces. Agape addresses the simultaneous aggression and futility of this experience, building and building upon a gaping wound, all at once vulnerable, intimate, violent and sad. In Black and Blue, Mitchell plays within the dissociation of the body and individual, and of the experience of feeling like a stranger in your own skin or at war with your own body.

Pulling from her own experience of personal illness, she wanted to address the feeling of fighting a monster in your own skin; of trying to continue to feel in control of your life, identity, and well-being in the face of debilitating illness. In this series of work, the image of the mouth acts as the embodiment of this struggle. Our crucial vehicle for sustenance, self-expression, and seduction, it absorbs all the chaos of this conflict as it distorts, decays, and begins to rip apart under the pressure.

 

Agape, 2011, silkscreen and mixed media on mylar
36 x 55 inches

While her work illustrates a kind of agitation or aggression, it also alludes a static, untouchable quality, as if the images depicted were film stills of memory. Like memory, they hover over the course of our present actions and decisions, regardless of how we push them back into the past. We respond to these memories although they have been laid to rest, when in truth, they are written into the very fiber of who we are: our very flesh, blood, bone, and heart.

Erin Mitchell is an emerging artist whose works on paper explore the influence of trauma in distorting individual memory and perception. After receiving her BFA in Printmaking and Drawing from Washington University in St. Louis, her work has been featured in a number of exhibitions, including the American Youth Printmaking Exhibition under the 2011 Shanghai Youth Biennial, in Shanghai, China; and exhibitions juried by Franklin Sirmans, Chief Curator of Contemporary Art, Los Angeles County Museum of Art (LACMA); Mark Pascale, Curator of Drawings and Prints, Art Institute Chicago; Anne Coffin, Director, International Print Center New York (IPCNY); and Elizabeth Wyckoff, Curator of Drawings, Prints, and Photographs, St. Louis Art Museum.

She currently lives and works in San Francisco, California.

Visions of Yore Finalists

Hey there blogosphere.

We’re excited to announce the finalists for our upcoming show Visions of Yore, opening on July 7th!

Congrats to…

Megan GorhamErin Mitchell, Alexis Arnold, Lori Hepner, Allyson Seal, Daryll Peirce, Dan Herrera, Kylea Borges, Christine Elfman, Lacy Davis, & Margo Duvall!

Make sure to put on your calendar the following dates as well:

July 13th: Lecture by Renée Gertler and performance by Clint Sleeper and Audrey Love as Robot Versus Future

July 21st: Performance by David Molina, Garrett La Fever, Mickey Tachibana, and Anna Geyer of “Memory Web” and “Transient”

July 28th: Auction of all unsold works from Visions of Yore and previous Gallery Hijinks shows!

Visions of Yore-A Juried Exhibition in Gallery Hijinks

TO SUBMIT WORK HEAD OVER TO  http://www.galleryhijinks.com/about/juried-exhibition

Gallery Hijinks is proud to announce its first juried exhibition, Visions of Yore. Along with the gallery director, Tanya Gayer, Gallery Hijinks has invited guest juror Emily Lakin of Yerba Buena Center for the Arts to be a part of the selection process. The exhibition will occur July 7th, 2012, and include live performance and artists lectures during the month, as well as an auction at the close of the exhibition.

Submissions are open to a range of work including sculpture, painting, printmaking, sound, video, installation, and mixed media work. The exhibiting artists should demonstrate the  quality of their work and relevance to the exhibition concept. The exhibition is open to all artists aged 18 and over. Artists must be willing to take on personal responsibility for their artwork if unsold after the exhibition closes. Entries should be completed within 2 years prior to the deadline. The exhibit is open to the public.

Visions of Yore

Katharine Harmon, the author of The Map as Art, notes that to ‘orientate’ is to, “hop back and forth between landscape and time, geography and emotion, knowledge and behavior. Associations often happen with this idea of orienting because of memory springing from these categories.” To translate memory is to recall the sensory and time sensitive elements of a memory.

Memories coexist with time and space neither in the present or past, nor in one location at one time, but in fact exist and apply aspects from different places and people at all times. The process of remembering takes place in such an instant that memories only have concrete form by way of specific documentation.

Gallery Hijinks seeks works that  come from our beliefs of memory. At times memory cannot be pinned down, but only felt as a means of consciousness vying for a state of attention. Cues encountered in everyday life evoke past recollections without effort, while sometimes we deliberately try to piece together the past. Artists are encouraged to submit work in homage to memory and how it is recognized in regards to the visual and formulated.

Exhibition Details:
Deadline for submissions: June 1st, 2012
Submission Fee: $20
Artists accepted for the exhibition will be notified by June 4th. Works must be delivered to Gallery Hijinks no later than June 27th, 2012.

Works will be on sale for the duration of the exhibition both in the gallery and online. The artist will receive 50 percent of the set retail price if the work sells during the month of July. If the works do not sell by July 27th, then it will be included in a larger auction held on July 28th. Artists will receive 40 percent of the original retail price no matter the auction’s final selling price. The starting bid will be set at 50 percent of the retail price unless requested otherwise (please include in Additional Details of Work section below). The starting bid and a reserve price will be reflected in the contract signed after selection process.

 

TO SUBMIT WORK HEAD OVER TO  http://www.galleryhijinks.com/about/juried-exhibition

 

Gallery Hijinks · 2309 Bryant Street · San Francisco, CA 94110-2810
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