︎

BEDROOM SHOW

Friday, January 21 2021.


Hart Hallos, “All I Want” -All I Want is supposed to be a moment after a moment. It's like if you blinked and just opened your eyes: a tree branch has already burst through the glass, and birds have started flying around inside.  The objects in the room, which are gathered mostly around the window, reflect the objects that I have assembled since reliving in my childhood bedroom (and adolescent bedroom, and teenage bedroom). The shelves, in contrast, are empty.  All I Want focuses on the changing relationships we have with a space like our bedroom and how we may feel more ourselves and less ourselves in that space over time, even distant or alien from the past versions of ourself which are presented in such spaces. As the tree branch and birds weaken the boundary between this space and the outside air, are they freeing something or invading it? Evie Hall, “Mother and Father” -This image comes from ‘Mother and Father’ a series from my A-level photography personal study in which I have decided to explore Borderline Personality Disorder - a mental condition I personally suffer from. Mother and Father is an exploration of one of the common causes of BPD - a strained parent-child relationship. I have set this image in the bedroom, whilst creating a juxtaposition in the formality of the parents in both clothing and posing to show the disconnect within the parental relationship , and the family as a whole, positioning the viewer into the point of view of the child experiencing this difficult familial relationship. Elisabeth McLaughlin “Bedroom Composition” -In this self-portrait, I am paying homage to my adolescent love for film. Inspired by the short feature “Hotel Chevalier,”  I’ve painted myself into a scene that is both intimate and physically/emotionally distant. Director Wes Anderson often upends power dynamics by reversing the roles of children and adults. Now that I’m living at home with my parents again, I’m constantly negotiating feelings between childhood and adulthood. This past year, my work has mainly been defined by yellow, a color that is both cheerful and melancholic. I am fascinated by the way we experience the recent past through memory.  Anna Garrity, “Untitled” Ester Petukhova, “Body Being”-I don’t know what home is only because I remember home as something from where I will one day be removed. I think that in many ways, a large bulk of my life has always been in migration. My family and I fled Vologa, Russia, in the year 2001. We moved twice after that. I've never had my own room. I think the longest I've stayed in one bedroom was 10 years, and even then, I shared it with a sibling. I think bedrooms say a lot about a person. They are inherently intimate, but not solely in that kind of way but in the sense that everything that makes a person— the way they dress themselves, the books they read, embarrassing hidden posters, abandoned retainers, a pink cowgirl hat, loose socks—are the most honestly we can experience a person in their entirety. Your bedroom is the most active archive in your life.  When does your room become yours?  Is it a language? A color?  Scent? Feeling?  Maybe a sound, or enunciation?  Is it a cycle? A period of time?  Is it accessible, or at some point non-existent? Is your room yours when it is a pink pair of pants?  Maybe a slight Russian accent, or red eye-liner?  Is your room even a space?  Ester Petukhova, “Pria’s World” -I don’t know what home is only because I remember home as something from where I will one day be removed. I think that in many ways, a large bulk of my life has always been in migration. My family and I fled Vologa, Russia, in the year 2001. We moved twice after that. I've never had my own room. I think the longest I've stayed in one bedroom was 10 years, and even then, I shared it with a sibling. I think bedrooms say a lot about a person. They are inherently intimate, but not solely in that kind of way but in the sense that everything that makes a person— the way they dress themselves, the books they read, embarrassing hidden posters, abandoned retainers, a pink cowgirl hat, loose socks—are the most honestly we can experience a person in their entirety. Your bedroom is the most active archive in your life.  When does your room become yours?  Is it a language? A color?  Scent? Feeling?  Maybe a sound, or enunciation?  Is it a cycle? A period of time?  Is it accessible, or at some point non-existent? Is your room yours when it is a pink pair of pants?  Maybe a slight Russian accent, or red eye-liner?  Is your room even a space?  Ester Petukhova, “To Be Nineteen and Obsolete” -I don’t know what home is only because I remember home as something from where I will one day be removed. I think that in many ways, a large bulk of my life has always been in migration. My family and I fled Vologa, Russia, in the year 2001. We moved twice after that. I've never had my own room. I think the longest I've stayed in one bedroom was 10 years, and even then, I shared it with a sibling. I think bedrooms say a lot about a person. They are inherently intimate, but not solely in that kind of way but in the sense that everything that makes a person— the way they dress themselves, the books they read, embarrassing hidden posters, abandoned retainers, a pink cowgirl hat, loose socks—are the most honestly we can experience a person in their entirety. Your bedroom is the most active archive in your life.  When does your room become yours?  Is it a language? A color?  Scent? Feeling?  Maybe a sound, or enunciation?  Is it a cycle? A period of time?  Is it accessible, or at some point non-existent? Is your room yours when it is a pink pair of pants?  Maybe a slight Russian accent, or red eye-liner?  Is your room even a space?  Kassia Karras, “Tik Tok Juice” Carlos Sánchez-Tatá , “Untitled” -Hello my name is Carlos Sánchez-Tatá I’m from Venezuela and currently studying visual arts and art history. I primarily love to paint colorful portraits with a sad theme surrounding it. This piece titled “a trip to the underworld”, was inspired by my personal relationship with the internet and technology. It feels perfect to make a piece inspired by the bedroom because when I had a monstrous amount of free time during quarantine, it felt important to try and actively change my habits. One of the hardest demons I tried to tackle was limiting my screen usage and finding peace with existing off the digital grid. Kassia Karras, “I suburbs” Lorenzo Barajas -“I hate to see the evening sun go down” Annie Farrell, “Why don’t you love me outside the bedroom?” -I spent a lot of time in my high school bedroom from March - December 2020. When I last spent that much time at home I was in a long-term relationship. Coming home, I had to rediscover my city for myself. To do this, I had to unpack the relationship--the good, the bad, the end. In the song, "You've Lost that Loving Feeling" the singers describe criticizing each other for little things because "something beautiful's dying." In my view of my former relationship, we ended emotionally first--criticizing and picking on each other. The physical part of our relationship ended after. We were trying so hard to hang onto the last beautiful thing about us in between the emotional and the physical end. I created this piece when thinking about that "in-between" time. Julie Lee, “Forgive me….” -Julie “Juju” Lee is a Korean-American artist from Alabama interested in domestic chaos. She primarily works with video, drawing, and installation. Her work is her diary, filled with murmurs and pleas for something gentler and louder in an unpredictable and odd world. Nicole Kestenberg, “Analog Portrait of a Bedroom” - Accompanying video : https://vimeo.com/497867677 Rachel Kamata, “Don’t Wear Shoes” -Don’t Wear Shoes in the House is an acrylic painting depicting modern “Tabi” style socks. Growing up in a mixed family (Japanese/Caucasian/Family in different places), the custom of not wearing shoes inside and wearing socks was something that consistently came up when I went to someone's home or someone came to mine. The particular pair in the painting was purchased in Japan, and I mostly wear them around the house since they don’t mesh with typical streamlined american Victoire Mandonnaud, “PORTRAIT NU D'UN INDIVIDU SOCIAL /NAKED PORTRAIT OF A SOCIAL BEING” -[These works are form of] research into our intimacy within our socialisation as social beings being influenced by a society and its people influenced by it.  Designed as an installation, it is conceived as a reflective performance that engages the one going through this process to acknowledge the influences that our socialisation has on himself.   This work has been conceived while following the "Do Your Own Method" class at the Susan Batson acting studio. I just had failed the exercise by proposing an interpretation of a childhood need with "The clock of the Lost Figure" and was redoing another proposition starting with this set design idea. Although this piece was made prior the announcement of this exhibition, its premise “Bedroom” reminded me of the enclosennes that this installation tried to capture: from the one to ourselves, to our room to our group of reference; and the “space” that we cannot escapee from.  Victoire Mandonnaud, “PORTRAIT NU D'UN INDIVIDU SOCIAL /NAKED PORTRAIT OF A SOCIAL BEING” -[These works are form of] research into our intimacy within our socialisation as social beings being influenced by a society and its people influenced by it.  Designed as an installation, it is conceived as a reflective performance that engages the one going through this process to acknowledge the influences that our socialisation has on himself.   This work has been conceived while following the "Do Your Own Method" class at the Susan Batson acting studio. I just had failed the exercise by proposing an interpretation of a childhood need with "The clock of the Lost Figure" and was redoing another proposition starting with this set design idea. Although this piece was made prior the announcement of this exhibition, its premise “Bedroom” reminded me of the enclosennes that this installation tried to capture: from the one to ourselves, to our room to our group of reference; and the “space” that we cannot escapee from.  Victoire Mandonnaud, “PORTRAIT NU D'UN INDIVIDU SOCIAL /NAKED PORTRAIT OF A SOCIAL BEING” -[These works are form of] research into our intimacy within our socialisation as social beings being influenced by a society and its people influenced by it.  Designed as an installation, it is conceived as a reflective performance that engages the one going through this process to acknowledge the influences that our socialisation has on himself.   This work has been conceived while following the "Do Your Own Method" class at the Susan Batson acting studio. I just had failed the exercise by proposing an interpretation of a childhood need with "The clock of the Lost Figure" and was redoing another proposition starting with this set design idea. Although this piece was made prior the announcement of this exhibition, its premise “Bedroom” reminded me of the enclosennes that this installation tried to capture: from the one to ourselves, to our room to our group of reference; and the “space” that we cannot escapee from.  Victoire Mandonnaud, “PORTRAIT NU D'UN INDIVIDU SOCIAL /NAKED PORTRAIT OF A SOCIAL BEING” -[These works are form of] research into our intimacy within our socialisation as social beings being influenced by a society and its people influenced by it.  Designed as an installation, it is conceived as a reflective performance that engages the one going through this process to acknowledge the influences that our socialisation has on himself.   This work has been conceived while following the "Do Your Own Method" class at the Susan Batson acting studio. I just had failed the exercise by proposing an interpretation of a childhood need with "The clock of the Lost Figure" and was redoing another proposition starting with this set design idea. Although this piece was made prior the announcement of this exhibition, its premise “Bedroom” reminded me of the enclosennes that this installation tried to capture: from the one to ourselves, to our room to our group of reference; and the “space” that we cannot escapee from.  Kassia Karras, “I Barry at Home” Eliana Shapere, “Untitled” Lola Lafia, “Untitled” Lola Lafia, “Untitled” Lola Lafia, “Untitled” Lola Lafia, “Untitled” Lola Lafia, “Untitled” Lola Lafia, “Untitled” Lola Lafia, “Untitled” Rachel Kamata, “The Door” -The Door is a multi-media installation on my actual bedroom door that I built from 5th grade, when a “Danger: ninjas, pirates, monsters & Zombies” poster was put on, to my high school graduation. The Door has evidence of significant moments in my life, local “San Antonio” culture, my name in various fonts (including the Unknown Pokemon), and artistic expressions. It also hints at what my room may contain, and seeing it whenever I returned home made all the difference. (I started a new one on my dorm door, but it has been adhered to sticky notes so I can move it around and not get in trouble). Rachel Kamata, “The Door” -The Door is a multi-media installation on my actual bedroom door that I built from 5th grade, when a “Danger: ninjas, pirates, monsters & Zombies” poster was put on, to my high school graduation. The Door has evidence of significant moments in my life, local “San Antonio” culture, my name in various fonts (including the Unknown Pokemon), and artistic expressions. It also hints at what my room may contain, and seeing it whenever I returned home made all the difference. (I started a new one on my dorm door, but it has been adhered to sticky notes so I can move it around and not get in trouble). Rachel Kamata, “The Door” -The Door is a multi-media installation on my actual bedroom door that I built from 5th grade, when a “Danger: ninjas, pirates, monsters & Zombies” poster was put on, to my high school graduation. The Door has evidence of significant moments in my life, local “San Antonio” culture, my name in various fonts (including the Unknown Pokemon), and artistic expressions. It also hints at what my room may contain, and seeing it whenever I returned home made all the difference. (I started a new one on my dorm door, but it has been adhered to sticky notes so I can move it around and not get in trouble). Wren Standish, “This girl left a pizza box in my room” Anna McColley, “Untitled” -Anna McColley is junior at Barnard College majoring in Art History and Visual Arts. I have been spending most of my time in my bedroom lately, like most of us, and this piece is part of my reflections on my space, feeling stuck in it, and my small window out into the world. (India ink and gouache on cotton with strips of fabric and film negatives sewn in) Anna McColley, “Untitled”- Anna McColley is junior at Barnard College majoring in Art History and Visual Arts. I have been spending most of my time in my bedroom lately, like most of us, and this piece is part of my reflections on my space, feeling stuck in it, and my small window out into the world. (India ink and gouache on cotton with strips of fabric and film negatives sewn in). Shori Sims , “Cryingggg” -This piece felt like a dream to me. The representation of motion -- the way that things can be moving in a dream yet appear still -- is something that struck me as I completed the work. The large teardrop, too, is something like out of a dream. Bedrooms are places for dreaming. I've been spending a lot of time dreaming as of late