March 5, 2017
Join us from 12:00-4:00 pm to witness a space reinhabited.
10605 Atrium Dr
San Diego, CA 92131
Map and Directions
Every space is filled with the traces of its residents, their smells, footsteps, touches and objects. In [re]Inhabiting, the art of Trevor Amery, Gosia Herc-Balaszek, Eleanor Greer, Victoria Iungerich, Georgia K. Laris, Amy Mackay, Elizabeth Stringer, Armando de la Torre, and Maya Vanderschuit will temporarily occupy 10605 Atrium Drive. These installations and artworks will create new spaces, experiences, intimacies, and memories within an existing architectural framework.
Whether employing saunas and coffees shared, public monuments, or power naps as platforms for artistic discourse, Trevor Amery is interested in what happens at the intersection of objects and gestures. Through sculpture, installation, painting, media, and different forms of social practice he use physical and digital space as a means to both facilitate and frustrate communication and knowledge gathering and engage with different audiences
Gosia Herc-Balaszek: "The nomads leave no trace. Their dwellings are in the spaces that are neither public nor private. They hover above and between the surfaces that protect them from weather and history. The cyclical aspect of military life does not allow rootedness. Neither people nor memories are allowed to stay."
Eleanor Greer's surrounding environment and the changes that it undergoes peak her curiosity and provide the impetus for her studio practice. She record forms, textures and spaces through drawing and photographs, which become the lexicon she uses when composing a new work. A moment or an object that intrigues her might later find its way into a composition or spark a year-long investigation.
Victoria Iungerich's process of sewing and weaving onto canvas are resonant of her upbringing in a traditional working class Soviet family where her fingers memorized the processes of sewing, knitting, etc. but grew tired of restrictive patterns. In her works, Iungerich's nimble fingers transform materials used for domestic work and crafts into powerful objects of artistic expression. Intentionally deskilling the labor with crude hand stitching and abstraction, her process forces the investigation of the gendered materiality of an object.
Georgia K. Laris’ intimately scaled works the support of the paintings is transformed rendering a surprisingly elaborate material surface.
In her most recent series of paintings Amy Mackay employed a complex methodology of staging, documentation, and translation to explore questions of representation, perception and group memory. Using a combination of both additive and subtractive techniques, she painted each image in a state of becoming. Recurring gaps and holes in the paintings act in ways that reach into the past while concealing memory.
Elizabeth Stringer: "Within this design there are five periphery chambers leading to a central passage that becomes the top applicator for the viewer to smell the experiment. Each individual peripheral chamber will have a cork like entryway to place in more smell. The smell contained within the periphery chambers will be that of flowers found in the French countryside."
For this show Armando de la Torre took his inspiration from an old San Diego photograph of two palm trees surrounded by picket fence believed to have been planted in 1776 by Father Juniper Sera to mark the future sight of the Presidio and establish the first Mission in California. This marks the beginning of California and the end for Kumeyaay's and other local tribes as they had lived.
Maya Vanderschuit's work often considers the phenomenology of space and notions of intimate immensity. Her recent work uses the surfaces of digital video projections and iridescent materials to explore the body’s ontological relationship to real and virtual spaces. The time-based installations juxtapose the real and the virtual by extending screen space into actual space.