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NATIONAL AFFILIATES GROUP EXHIBITION (Gallery 1-2)
Out of Our Minds
Opening Thursday, April 18, 2019 6-9PM
On view April 18 – May 18, 2019
Artists: Laura Cloud, Edie Cohn, Judith Mistor, Nelleke Nix, Ann Rowles, Barbara Rehg, Georgia Strange, and Rosie Thompson.
SOHO20 presents Out of Our Minds, a selection of current work by its National Affiliate artist members.
Interdisciplinary artist and Michigan-based professor Laura Cloud offers a pair of close-cropped photographs made during a recent residency in Morocco. In them, the ostensible seriality and ubiquity of items that one could find in multiple international markets, acknowledges the vast and complex global trade systems and renegotiating agreements.
In recent paintings, Durham, North Carolina-based artist Edie Cohn negotiates the aging process, and the possible encroachment of blindness due to a degenerative illness.
Judith Mistor, who lives and works in Florida, creates a system of elaborate personal metaphors of social commentary through a selection of bold and visceral found materials in her sculptural series Relics, which create a convergence of household and industrial objects. In works such as “Sword-Swallower,” as with many of her works, Mistor’s interest is in the tension between individual agency and collective power.
In response to the exhibition title, Seattle and New York-based Dutch artist Nelleke Nix, whose mixed media practice spans seven decades, created “Words are not enough (to describe it).”
Atlanta-based artist Barbara Rehg, with “Changing States” (2019), a canvas that ripples across the wall like an accordion or a memory, explores the visual realization of thoughts, and their capacity to evolve.
With Untitled (2019), a biomorphic, crocheted sculpture that appears to have swallowed a variety of objects in its making, Ann Rowles, also from Atlanta, furthers her long-standing exploration of the challenges within feminist labors and family histories.
Florida-based artist and professor Georgia Strange in “Reluctant Urns” explores “human consciousness and its senseless argument with death,” after a profound loss. As she notes, “My embrace of personal bedlam stopped feeling safe after destabilizing changes and political shifts swamped my ability to respond. Details vary, but each of us could share a list of mental assaults and insults that transform one’s fortitude into fragility.”
Rosie G. Thompson‘s “Crossroads” is the latest in an ongoing series of painted and redacted wood surfaces that depict a secession of contrasting and overlapping scenes. Born in Ybor (the Latin quarter of Tampa) and of Lebanese and Native American descent, Thompson notes that the ongoing visual iconography within the work conveys her mixed ancestries and cultural traditions in a Shamanistic manner. In each she negotiates both the personal and the universal of human experience.
For over two decades, North Carolina-based artist Virginia Tyler has created work in collaboration with metal casters in Ghana. In “You Have Your Mother’s Eyes,” a set of glasses atop another gaze at the viewer in bewildered parallel.
Image:“Words are not enough (to describe it).”2019. Nelleke Nix.