to Mar 23

Of Tongues and Hands

 Freya Powell,  A Murmuring , 2018, single channel video, 14:42

Freya Powell, A Murmuring, 2018, single channel video, 14:42

Of Tongues and Hands
March 2nd - March 23rd
Opening reception March 2nd, 6-9 pm

Closing performance: March 23
Umber Majeed: The Atomically Explosive Love

Featuring: Lauren Bakst (USA), Isak Berbic (USA), Jose Castrellon (Panama), Jesse Chun (USA), Ryotaro Fuyuki (Japan), Maya Jeffereis (USA), Sukjoon Lee (Korea), Wonwoo Lee (Korea), Umber Majeed (USA), Annesofie Sandal (Denmark), Freya Powell (USA), Merel Visse (Netherlands), Lu Zhang (China).

NARS Foundation is pleased to present Of Tongues and Hands, a group exhibition featuring the work of current artists-in-residence. During their 3 or 6 month residency, this group of thirteen international artists have focused on developing their individual practices and research projects that range from engaging with collective and personal histories, memories, and languages to exploring intimate relationships, the body, and materiality. In the process of working alongside each other affinities, collaborations, and exchanges have emerged that will continue to be explored as the gallery, in addition to the artists’ studio, becomes a space for making, sharing, and showing work during their last month in the residency.

Lauren Bakst presents iterations of her work-in-progress Private Collection, a body-based, open-source archive that indexes psychic and somatic architectures of intimate relationships. In the gallery, Private Collection (Room) is a performance on the screen for one person, layering multiple temporalities in one frame. During the opening, pulling from Private Collection, Lauren Bakst, joined by collaborator and performer effie bowen, offers a series of performances for one audience member at a time in her studio.

Isak Berbic's recent work reflects on contested histories and the limits of representation through his use of fiction and documetnts, found and primary material, and explores the image and the literary in the construction of his pieces. On a recent trip to southern Bosnia and Herzegovina, he visited a remote medieval necropolis. He photographed bar reliefs or engraves pictograms on the tombstones. Seen from today's visual culture these images are at once foreign as they are familiar.

Appropriating the infamous Panama palindrome, Jose imposes it over a 1907 advertisement for the newly renamed Panama City, Florida. George Mortimer West, a real estate mogul, rebranded the city after the Central American homonym to capitalize on the recent hype surrounding the United States' purchase of the Canal in 1903. Jose draws a parallel between US expansionism and imperialism in Panama and homegrown land grabs and real estate speculation.

Jesse Chun's In a Manner of Speaking, an ongoing series of modular panels, presented here as a triptych, draws from the artist’s interests and transcultural experience with language. English and Korean, numerals and codes, redacted keyboards indexes and bibliographies—both found and imagined, are mixed to compose Concrete Poetry and highlight the navigation between multilingual system, the familiar and the foreign.

At the start of his six month residency, Fuyuki installed a mirror in his studio and instructed the NARS staff to throw a metal bearing ball at it if they felt negative feelings, like impatience or frustration. No one did! Ryotaro took this as proof that no one had such negative feelings before the exhibition so he renamed the piece “Peace Mirror.” The instructions, however, still hang in the staff’s office. Ryotaro’s work focuses on making the end place between the emotional subjective viewpoint and the analytical comprehensive one. He thinks about emotions the same way as science and mathematical formulas. His art is the method for them.

Maya Jeffereis' Fallout Shelter is a thought experiment about ethics, identity politics, and nation-building that envisions a post-apocalyptic survival scenario with occupants of a fallout shelter. Dozens of participant-performers improvised their roles in a video confessional format, resulting in a polyphonic narrative that complicates identity politics and speculates on a utopic society. Revealing moral values, biases, and ideals, the video confessional and documentary interview formats service to conflate fact and fiction and to complicate the performance of character versus the performance of self.

Sukjoon Lee creates open stages through kinetic and interactive objects that center viewers, calling them deeper into themselves and in relation to the world. Raindrop player is a sound box based on lenticular animation. As we divide the natural state into units such as minutes and seconds, the color barcodes are cut into pieces. This sound box reproduces specific musical notes and raindrop images by recombining the barcodes.

Wonwoo Lee's The Nose is a sculpture that the audience member can touch and enter. Stemming from his interest in “Giants,” as part of a broader inquiry into combating “Anxiety,” Wonwoo's sculpture is also a small room one can sit inside of, becoming a giant, their legs and feet dangling through the nostrils. Alongside giants, the artist’s other methods for defeating anxiety include good luck, dancing, and traveling to the future. These are not offered as solutions as much as evocative attempts through humour and comical situations. Noses, as do giants, hold significant meaning in Korea, symbolizing someone’s pride or dignity. Plastic surgery, especially lifting one’s nose higher, is as a result very widespread among both men and women. The higher nose becomes a shield one can hide behind. In his sculpture, one can recognize someone is behind the nose because like in a fitting room or bathroom stall the legs are hanging out, but not know who is inside it.

Umber Majeed's Hypersurface of the Present is a drawing installation that maps out how green light functions as a mode of sprituality perpetuated and disseminated by Pakistani nationalism, Islamic orientalism, populish green screen interface, and light therapy. The absurdist diagrammatic pencils on paper depict visual perception essentially highlighting the movement of a green cone as a stand in fugure for state hegemony. The materials presented are research materials around the artist's in-progress/extension animation series, Atomi Daamaki Wali Mohabbat (The Atomically Explosive Love).

By combining lists of words associated with the emotional impacts of trauma and excerpts from Shakespeare's Hamlet paired with the imagery of waves crashing and the kneading of clay, Freya Powell's video attempts to portray, visually and aurally, the inner turmoil of trauma.

Annesofie Sandal: According to The European Candle Association the Danes burn more candles per inhabitant than anywhere else in Europe despite the fact that candles shed more particles than cigarettes or cooking. In 1446 the Hangul Alphabet was introduced to the Korean people to promote literacy amongst the common people. Foreign occupation and influences might be the explanation behind a still existing illiteracy amongst older generations. October 9th is official Hangul Day in South Korea. Fur trading started as an exchange between Indigenous people and Europeans and played a major role in the development of North America. Large parts of the border between Canada and the US traces the old trading territories. Todays farmed mink are often raised in pairs, as farmers have learned it results in calmer and healthier fur. The 23rd pair of chromosomes determines gender in a human being – Translocation happens when a chromosome part is rearranged. This can happen balanced or unbalanced.

Merel Visse's The Withheld is about what is beyond our grasp, yet acting upon us. The axion x = x+ emphasizes that words, symbols, and images all point beyond themselves. All mean more than initial encounter suggests. In our relations with others and with works of art, there is a continuous interplay between grasping what a work asserts or claims and understanding what the assertion indicates or signifies. This is a distinction between what a work expresses (or states) and what comes to expression in it (what it discloses). Grasping the first requires an analytical approach whilst the second demands participation in a speculative way. For example, when a musical work (x) presents itself to an engaged participant, the work also discloses the broader horizons of meaning or speculative fields (x+), which constitute it and give it its significance. The part (x) discloses the whole (x+) but only partially, as the whole (x+) can never be fully captured in images or concepts.

Lu Zhang's It Takes Ten Years Practice to be on the Same Boat is a dating experience inside a Chinese river boat, made of ceramic, reed, steel and wood, in the artist’s studio. Lu designed a website through which individuals can sign up to meet up as part of the project, which is ongoing throughout her residency. In the gallery, she presents two paintings of screen grabs of the website, which replicates Chinese pop-culture characters and aesthetics.

Opening night performances by:
Lauren Bakst, joined by collaborator and performer effie bowen, will offer a series of performances for one audience member at a time in her studio. These performances-for-one pull from Private Collection, a body-based, open-source archive that indexes psychic and somatic architectures of intimate relationships.
Lu Zhang’s project It Takes Ten Years Practice to be on the Same Boat is a dating experience inside a Chinese river boat, made of ceramic, reed, steel and wood, in the artist's studio. Drinks and snacks will be offered on a ceramic Chinese checkers and tea table. This project is ongoing, with new dates coming in March. Sign up on the project’s website.
Wonwoo Lee will be holding a Lost & Found session in his studio. Request something that you have lost in your life, and the artist will work for 10-15 minutes using leftover materials to "find" your lost object.

Closing night performance lecture by Umber Majeed: ATOMI DAAMAKI WALI MOHABBAT (THE ATOMICALLY EXPLOSIVE LOVE) 2017- ongoing , Animation/ Lecture Performance, 27:04

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Alina Grasmann: Paper Town
to Mar 23

Alina Grasmann: Paper Town


Alina Grasmann: Paper Town

March 2 - March 23
Opening reception March 2, 6-9 pm
NARS Project Space
Curated by Eriola Pira

Closing performance: March 23
Jesus Benavente: I'm Not Dancing, I'm Struggling to Survive

NARS Foundation is pleased to present Paper Town, an exhibition of a new work by recent residency artist Alina Grasmann. The artist's first New York City solo exhibition is a series of paintings of houses and other buildings in the fictional town of Agloe, NY. Agloe does not exist, except that it has and it does.

Agloe was first created as a “paper town” or “copyright trap” in the 1930s by Otto G. Lindberg, director of the General Drafting Co., and his assistant, Ernest Alpers. They named the fictional town in their road map of New York state after their initials, in essence signing it and protecting it from copyright infringement. Years later the publisher Rand McNally issued its map featuring Agloe, NY, but by then its originators could no longer claim theft as their fake town had led to the establishment and naming of the Agloe General Store -- an instance of the map preceding the territory. It long survived the store on paper roadmaps for over 90 years, making it to the digital era where one could get driving directions to Agloe. In 2014, after the New York Times inquired about its provenance, Google wiped Agloe off its map. But that hasn’t stopped countless pilgrimages to or in search of Agloe, spurred on by “Paper Town” a novel by John Green, where now a fake, albeit real, historical landmark sign welcomes visitors.

Having read about it in German newspapers, the artist visited Agloe in September 2017. Snapshots she took of homes, churches, gas stations and other buildings leading to the historical marker serve as the basis of some 40 oil on paper paintings, a selection of which is on view in the gallery. In these paintings, the fictional town is real. In their reliable precision and ostensible truth, the paintings stand in as objective documents, no less reliable than a map, for Agloe’s existence. The desire to make or believe something real or to have fiction come to life, and for that matter the inverse, is at the heart of why Agloe is still around and continues to fascinate, but it also speaks to the blurring lines between fiction and reality in the era of “fake news.”

Stripped of almost all identifying markers, the town in Grasmann’s paintings could very well be anywhere. This paper town is a Potemkin village. Grasmann places the viewer firmly on the street, at a consistent and forbidding distance, while the town appears in front of her: a picture perfect Americana. Agloe is a typical New England town, the kind that evokes a sense of nostalgia, comfort, and middle-class sensibility. But devoid of inhabitants or signs of activity, something feels off center, strange, and uncanny. Each painting isolates a structure and depicts it with the frontality and precision of an architectural diagram, revealing the essential forms while highlighting particular details of each specimen. But Grasmann isn’t interested in typologies so much as in creating space(s) in her paintings, an effect the installation also achieves --spaces that invite imagination as much as critical reflection. The landscape is lush, as are her colors, but there is little or no horizon line, or background. The frontal and flat manner in which she’s depicts the homes, dinners, or police stations suggests that there is nothing but a facade.

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1:00 PM13:00

Aglae Bassens: Surface Tension


Aglae Bassens: Surface Tension
April 6 - May 4
Opening reception April 6, 6-8 PM

Aglaé Bassens’ recent work centers on pattern and repetition in ways that play against the flatness of the picture plane. Recurring palm trees embrace various forms, from sofas to allpaper and shirts, shifting shapes within the rectangle of each painting.

Surface Tension is a show about the relationship between illusory depth and pictorial surface. It also talks of the psychological emptiness beyond the apparent cheerfulness of the patterns. The sofas remain empty, the interiors unpopulated, and the tree shadow painted onto the wall elongs to no apparent tree. Even the shirts give nothing away, and everyone seems to have left the party in Get Well Soon.

Palm trees have inspired Bassens’ practice for some time. Exotic yet generic and banalised, they perform as a happy/sad motif that celebrates the sameness and difference as each tree becomes interchangeable for another.

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to Feb 23

Myth, Memory, Migration: Stories from the Asian Diaspora

 Sheida Soleimani,  Maryam , 2017, archival pigment print on cotton, polyester filling, dimensions variable, image in courtesy of the artist

Sheida Soleimani, Maryam, 2017, archival pigment print on cotton, polyester filling, dimensions variable, image in courtesy of the artist

Myth, Memory, Migration: Stories from the Asian Diaspora
Curated by Tiffany Jaeyeon Shin

January 26 - February 23
Opening reception January 26, 6-8 pm

Myth, Memory, Migration: Stories from the Asian Diaspora addresses the interconnections between race, sexuality, class, and debility in relation to cultural myths, migration, and memory. In dismantling the notion of a singular Asian identity, the artists from West, Central, South, Southeast, and East Asian diaspora highlight the complexity in their layered and transnational identities. They investigate the ways in which interweaving histories and ongoing legacies such as colonialism, US militarism, anti-blackness, and Islamophobia construct our understanding of and positionality to Asian identity through archiving, translating, and excavating myths, oral stories, and family lineages.

Featuring: Amna Asghar, Dana Davenport, Umber Majeed, Tammy Nguyen, Ke Peng, Sahana Ramakrishnan, Sheida Soleimani

Amna Asghar speaks on the construction and translation of disparate references, cultures, geographies, and generations from Pakistan and America; Dana Davenport addresses the complexity of interminority racism within her own community and institutions from her experiences as a Black Korean American; Umber Majeed’s practice attempts to unpack the temporalities within South Asia as site, familial archival material, popular culture, and modern national state narratives; Tammy Nguyen interrogates natural sciences and non-human forms to explore racial intimacies and US military involvement in the Pacific Rim; Ke Peng documents the feeling of alienation and disorientation from urbanization and immigration by taking a journey into an imagined childhood in China, Hunan, where she was born and Shenzhen, a modern city where her family relocates to; Sahana Ramakrishan explores myths and religion from Buddhist and Hindu tales to speak upon the magic of childhood and the power dynamics of sexuality, race, and violence; Sheida Soleimani is an Iranian-American artist and a daughter of political refugees, making work to highlight her critical perspective on the historical and contemporary socio-political occurrences in Iran.

Tiffany Jaeyeon Shin (b. 1993) explores the interconnections between sexuality, gender, and transgression; history, memory, and cultural myths; and social hierarchy in relationship to coloniality. Shin uses Taoist indigenous knowledge to explore the porousness of bodily boundaries and the ceaseless movement of living processes, like fermentation, echoing the history of colonialism. Shin is interested in entangling the history of conquest and the literal digestion of materials - herbs, medicine, and food - into a new system of relations that emerge from a complicated history of entanglement.

Shin has exhibited at Trestle Gallery, Local Project, Abrons Arts Center, Miranda Kuo Gallery, and many others. Shin exhibited her first solo show at the AC Institute. Shin works and lives in Brooklyn, NY.

Public programming:

Opening reception | Friday, January 26, 7:00 PM
Performance by exhibiting artist, Dana Davenport

Thursday, February 1, 6:30-8:30 PM
Exhibiting artist panel

Thursday, February 15 | 6:30-8:30 PM
Roundtable discussion with community organizers and activists

Roundtable Panelists:
Mieko Gavia, independent writer
Monica Mohapatra, board member of South Asian Diaspora Artist Collective
Mark Tseng-Putterman, writer and PhD student, Brown University Department of American Studies
Ambika Trasi, artist, board member of South Asian Women's Creative Collective, curatorial assistant at the Whitney Museum of American Art
Betty Yu, multi-media artist, educator and co-founder of Chinatown Art Brigade

Tiffany Jaeyeon Shin is the winner of the 7th Annual Emerging Curator Open Call.

Bottom row credit: Tiffany Jaeyeon Shin and Mark Edwards

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to Feb 23

New Monuments for a Better Tomorrow, pt I


New Monuments for a Better Tomorrow, pt I
Curated by: Jesse Bandler Firestone

January 26 - February 23
Opening reception January 26, 6-8

New Monuments for a Better Tomorrow brings together seven artists and their proposals for new public works. These new works are not shown as pristine 3D renderings, but are instead exhibited as artworks that utilize a range of techniques and mediums to convey their ideas to the viewer. By treating each artwork as a stand-in for an unrealized monument, the viewer is asked to use their imagination and complete the image of each proposed work. In turn, the exhibition creates a scenario where the viewer must actively imagine multiple worlds where these monuments can exist within and thus impresses the importance of collective participation in manifesting alternative realities.

All together, these artworks look critically at the commemorative qualities of monuments and take aim at the shortcomings of historical public works that do not reflect a contemporary consciousness but are emblematic reminders to marginalized groups that we live within a society that does not support victims, queers, or people of color. In turn, a number of these proposals seek to expand the function of a monument by treating public sites as places for collective healing and tools to critically examine whose histories and stories are sanctioned. Similarly, others proposals seek to directly confront social norms and societal standards by embracing taboos and openly examining aspects of capitalism and material culture that are used to justify the subjugation of Earth and the suppression of its people. Ultimately, these works posit a future that is yearned for but has yet to come.

Featuring: Mattia Casalegno, Peter Clough, Whitt Forrester, Catalina Ouyang, Emmaline Payette, Julia Sinelnikova, and Andre Springer.

Jesse Bandler Firestone is a curator currently based in Brooklyn. His projects have been featured in Hyperallergic, Artnet, New York Post while his writings have been published in Sleek and The Brooklyn Rail. Firestone was Trestle Projects Curator in Residence 16-17, Wassaic Visiting Critic (March '17), and a guest critic at RISD (Dec '17). He is currently pursuing his MA in Curatorial Practice at SVA and is interested in how curatorial projects can be used to create temporary spaces where new thoughts and ideas are sustained by art and social interaction.

Emmaline Payette (b. 1987, Boston MA) is a multi-disciplinary artist living and working in Brooklyn, NY. Emmaline’s work is rooted in her academic background in Environmental Anthropology; her installation and experiential-based projects question issues of ecology in the Anthropocene. She creates installations with recycled and living material, engages in bio-remediation through planting projects, and does stick and poke tattooing. She is also the founder of curatorial project ECO AGE. ECO AGE happenings are collaborative projects of art, sound and performance in our future Ecological Age. Emmaline has shown work with Sunday Sessions at MoMA PS1, Trestle Projects and Silent Barn in Brooklyn, and the Feigenbaum Center for Visual Arts at Union College. She attended artist residencies on Governor’s Island in 2017 and at Vermont Studio Center in 2013. She studied at The School of the Art Institute of Chicago and Pont-Aven Academy of Contemporary Art with Brown University and RISD in 2010. Emmaline graduated from Union College in 2009 with a BA in Anthropology.

Peter Clough makes performance, sculpture, video and collage that engage queer sexuality and fetish through humor and childhood wonder. Clough's work is insistently personal, celebrating narcissism as a political tool and queer strategy. Clough’s work is rooted in collage, cutting and manipulating images of his own body to create works that exist on the borders of desire and repulsion, sexiness and silliness, pleasure and suffering. Peter Clough was born in Boston in 1984 and received a BA from Grinnell College in 2006 and an MFA from NYU Steinhardt in 2009. Clough has presented work in New York at MoMA PS1, Printed Matter, Fresh Window Gallery, Microscope Gallery, Southfirst Gallery, Wayfarers Gallery, LeRoy Neiman Gallery, SPRING/BREAK Art Fair, the Center for Performance Research, and Dixon Place Theater, in Pittsburg at the Andy Warhol Museum, in L.A. at Human Resources, in Nashville at Open Lot, in Berlin at Peres Projects and Space/Time at FLUTGRABEN e.V., in Seoul at Konkuk University and The House of Collections, in Antwerp at the Monty, in Ghent at Off/off Cinema and in Oslo at Kunstnernes Hus, Fotogalleriet, and SOPPEN Performance Festival at Ekebergparken. Clough’s work has been featured in the New York Times, Frieze, and Time Out magazine. Clough lives and works in Brooklyn.

Whitt Forrester is based in Chicago, IL. They attended Oberlin College for undergrad and receive his MFA in Photography from Columbia College. They have exhibited widely, in both national and international contexts, and have a range of aesthetic interests that include: practices of accumulation, manifestations of power, diaspora, noetic science, new materialisms, discourses around the transcendent and the material relationship between self and world.

Andre Springer is lives and works in New York City His practice spans sculpture, performance, film, activism, and research. He is a collective member of The Dazzle Dancers (PS1, Dietch Projects, Museum of Sex), and HOWDOYOUSAYYAMINAFRICAN? (Whitney Bienelle 2014).

Catalina Ouyang is a visual artist and writer. She has had exhibitions with Field Projects (NY), the Millitzer Gallery (St. Louis), Parapet Four Seasons (Los Angeles), Kilroy Metal Ceiling (Brooklyn), the Luminary (St. Louis), Hardesty Arts Center (Tulsa, OK), Granite City Art and Design District (Granite City, IL), Westminster Press (St. Louis) and fort gondo compound for the arts (St. Louis). Her writing has appeared in the Blueshift Journal, River Teeth (2017 Pushcart nomination) and CURA Literary Magazine (2015 CURA Prize). She has attended residencies at the NARS Foundation (Brooklyn), OBRAS (Evoramonte, Portugal) and Atlantic Center for the Arts. Ouyang is pursuing her MFA in Sculpture at Yale.

Mattia Casalegno is an Italian interdisciplinary artist, live-media performer and installation artist working in a broad range of media. His multidisciplinary work is influenced by both post-conceptualism and digital art, and has been defined relational, immersive, and participatory. His practice explores the effects new media have on our societies, investigating the relationships between technology, the objects we create, our subjectivities, and the modes in which these relations unfold into each other.

His work is been exhibited extensively and featured in publications such as “A Touch of Code” ed. Gestalten Books, “New Media Design” ed. Sometti; and “Deleuze and Audiovisual Art”, Manchester Metropolitan University. He is recipient of a Center for Cultural Innovation and a Young Italian Network Grant; winner of Electrowave in 2003 and finalist to the New Technological Art Awards in 2014. In the last year he was artist in residence, among others, at Budafabriek Kunstcentrum in Belgium and Eyebeam, NY

Julia Sinelnikova is an interdisciplinary artist who works with holograms, performance, and digital culture. Her light installations have been exhibited internationally, and she has performed widely as The Oracle of Vector Gallery. She has received commissions from Pace University, Michael Madden (Maroon 5), SELECT Fair, Webster Hall, and Norte Maar. Heavily inspired by electronic music, Sinelnikova has designed sculptural sets for performers including Lee Burridge, Machinedrum, The GZA (Wu Tang Clan), and Aurora Halal. Selected profiles of her work have appeared in The New York Times, The Wall Street Journal, VICE, Artnet, Huffington Post, The Creators Project, PAPER Mag, and The Fader. Her work has been presented at the Contemporary Art Museum of Houston, The Oulu Museum of Art, and Williamsburg Art & Historical Center. Sinelnikova has also exhibited site-specific installations for Miami Art Week / Art Basel annually since 2011. She holds a BFA in Sculpture from The Fashion Institute of Technology (SUNY). She lives and works in Brooklyn.

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to Jan 19

Bryan Martello: Please don't spit in my garden


Spotlight: Bryan Martello
Please don't spit in my garden
December 1 - January 19

Opening Reception December 1, 6-8 pm

In Please don’t spit in my garden, Bryan Martello explores themes of queer generativity, paternal instincts, indulgence, and aging through the construction of a makeshift garden. His garden acts as a queer space of opportunity where heteronormative standards are suspended and hierarchies dismantled. The work thinks of alternative ways to continue a lineage and prevent it from being lost. Fluctuating between different modes of representation: installation, photography, found objects, and debris, the work creates its own formula and then contradicts it. The garden simultaneously attracts and invites pleasure as it repulses and denies. Seeking to reconcile gay identity, Martello rethinks the way gay people are seen as virtuous, frivolous, apathetic, or selfish in connection with wealth, indulgence and self-care. Using the camera as an elevating force and a means of limitless reproduction, subjects are transformed through the lens. Elaborately costumed and adorned, ordinary things are transformed into almost alien, impenetrable mysteries, gaining new meanings and connotations. By manipulating, disguising, and combining everyday objects, the garden creates queer spaces where inherent value is reconsidered and the synthetic and decadent are valorized, embracing the abject and ostracized in a playful way. This work thinks critically about the line between self-care and extravagant pampering. Many products associated with self-care can be hazardous to the body and the environment, items such as: health and beauty supplies, disposable take-out food containers, and fast fashion. The garden takes pleasure in the immediate joys of the disposable and synthetic without anxiety of its toxic consequences. It differentiates giving up from giving in and making the best of what you have, and accepting failure.
Bryan Martello is a New York-based artist whose work reflects on issues of class, gender, and sexuality. Martello earned their BFA from the Massachusetts College of Art and Design in 2010, and their MFA from the University of Texas at Austin in 2016 where he was a Graduate Endowed Continuing Fellow. He was a participant at the Skowhegan School of Painting and Sculpture in 2016.

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