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 NO ESTACIONAR

NO PARKING

DAVID EARDLEY 

JOHN FORSE 

CALHAN HALE

SARAH LEHNERER

PAMELA MASIK

Like a plant that has been transplanted to another land, each of the residents in Casa Lü developed their artworks as an intent to reground and settle their roots in a new space. “No Parking” is a group show of the journey towards the process of acknowledging with a new set of language, symbols and signs in a foreign country and through their own creative process and use of materials each of the artists develop a correspondence and dialogue with this new territory.

 

 

 

DAVID EARDLEY

 

What does it mean to consciously construct one's own identity? In the Self-Construction series, the artist explores the relationship between the physical act of construction and the simultaneous nonphysical act of self-construction through a series of sculptural chairs built from a quantity of single units and digital artifacts from the period of creation. In reaction to function and external stimuli, the artist has constructed four separate sculptures from a group of single units - wood bricks - directed and redirected into various forms while retaining the same original building blocks. Here, the chair becomes the human body, transmuted into the familiar form of a chair, built with patterns of bricklaying that serve as stand-ins for the iterations of mind. 

 

 Artifacts of self - self-portraits, significant moments, construction processes, poetry - are presented as bridges between the self and the physical world. Through this work, the artist meditates on the choices they have made in the construction of their own self over a tumultuous year and the ways in which that construction might live and change into the future.


 

JOHN FORSE

 

I am a consumer. A recurrent element of my daily existence in Mexico has been the ever-present NOM-051 (Norma Oficial Mexicana-051), a measure which introduced the current cast of nutritional guidance stamps – one for excess sodium, another for sugars, fat, etc. These stamps are part of a larger set of regulations dictating food package design, intended to educate consumers and reduce deceptive marketing practices. The stamps are not just designs, however, they’re also anti-designs. They are intentionally obtrusive and unappetizing, precluding any joy one may derive from what lies underneath. They are extremely powerful didactic tools with possibly profound effects on our daily lives.

Words are never 'only words'; they matter because they define the contours of what we can do.

- Slavoj Žižek 

In this body of work, I am asking ‘How do we interact with image and language on a daily basis? How do they function together to define our daily existence? What insights might be gained from their alteration?’ The presented work was developed digitally and subsequently physically-realized as cut vinyl. This material was chosen for its applique-like nature, being an industrialized and readily-reproducible overlay fit for modifying existing surfaces.

 

CALHAN HALE

 

How might we challenge the conditioned value we often place on permanence, longevity and perfection and our default, binary understanding that the presence of one thing equates the absence of another? In this series of paintings, the artist juxtaposes relationships both found and invented in the shared space of a painting, illustrating this coexistence and tension between contrasting elements and ideas in our physical and emotional worlds.These depictions are pulled from daily life and are often considered independently from one another, despite their proximity. The artist draws on imagery of plants, shadows, concrete, sidewalks and freeways to explore the relationship between the human-made, the natural, representation, imperfection, ego, intention behind existence and attempts at permanence and control.

 

Material choices are used to convey the inevitable “imperfection” that accompanies translation and memory, allowing for relinquishing of control over the outcome within these spaces. Additionally, loose or exaggerated painted imagery exists within graphic, offset vignettes, suggesting that the context continues beyond any given frame or moment, furthering the limitations of the space at hand. Spraypaint, a more industrial element that implies plans for change, expansion or alteration, contrasts with the natural, tactile surface of the raw linen to further display the interaction between the human-made and the natural. Through the exploration of these tensions, the artist acknowledges nature’s ever-present interaction and interference with humankind’s attempts at permanence, as well as the paradoxical nature of our reality.

SARAH LEHNERER

 

The impulse for the work series of  game boards for this exhibition was set more than a year ago. At that time I designed a chessboard for a friend made of ceramics, while drawing the structures I forgot a row of squares, the chessboard thus became unplayable: A mere ornament, a picture, or an occasion to rethink the rules of the game. Each of the works shown in this exhibition was created along the lines of whether and how the flaws in the symmetry of a pattern could produce new games, new rules or a special way of thinking and behaving. Or, in reverse, how behavior develops its own patterns and makes them visible. The process of arriving in a new place - getting one’s bearings, learning to read signs, stuttering, spelling, groping - has inevitably become part of this question. The cutouts House of tits or dicks or nothing at all are all positives and negatives of the same surface, but the attempt to bring them together in a puzzle inevitable fails, because the process of materialization has led to losses of their symmetry: parts are missing, are scrubbed or twisted. The forms become peculiar, individual - and the negative space between the fits becomes an ornament itself. The text “Fireflies in the Dark. Letters on Ambiguities” is a short excerpt from the project of the same name, which I have been conducting together with Jackie Grassmann in the form of a blog/letter exchange since 2020. The excerpt of letters printed here covers the period of my stay in Mexico City. The project will be continued and is scheduled to be published in print next year. 

https://cashmereradio.com/episode/portals-jackie-grassmann-sarah-lehnerer-fireflies-in-the-dark-a-reading-on-ambiguities/.

 

All the works shown in this exhibition are more sketches than products: the clay is raw, unfired and roughly painted, the letters rudimentarily translated, the form-finding process groping and searching, nothing is fixed yet something set.

 

PAMELA MASIK

My purpose of being at Casa Lü was to begin a journey of letting go of what I was so familiar with after 20 years professionally and learn new processes and materials that are non-toxic and sustainable. One of the natural pigments has been explored is that of the cochineal beetle with one painting in particular, I also used other nature elements to assist me. I spent hour and hours layer after layer, curing each one with the sun, taking metal palette knives to mark, scrape and manipulate the surface. The storms came and took away part of the painting as if to be nature’s edit. I then continued along In my process something happened where I, out of habit, reached for the spray paint, completely losing sight of my intentions. After realizing what I had done, I wiped it all off and then the final element I would use was fire. I lit the painting on fire and let it burn to ashes, I collected the ashes and put them in an urn. With some of the ashes I began to create another and with the skin of the painting I burnt as well.

In the Aztec culture the skin of the sacrificed, would be draped on a deity and to that end, I had another Idea. First I chose to create an altar as there was a significance to the death of the painting- but instead of a Deity, I would birth a new painting with the very skin and ashes.

 

For that which occupies the space ‘ no parking’ is also temporary in itself. We die a thousand deaths to become the person we are now. Nothing is permanent.

 

Memories past, never in focus is,

For time and perspective construct

Another story to suit your skin.

 

What story do you wear?