The drawings and paintings in Aligned with the curve of night, organized by artists Tiziana La Melia and Julian Hou for Model Projects, unabashedly tease at multiple narrative possibilities, but ultimately encourage a flexing of the imagination. Agnes Scherer’s pencil drawing Untitled converges meticulous line shading with a brutish tape job, and delightfully lists “stickers” under its list of mediums. Three paper “extrusions” speak to the surreal acts of penetration depicted in her adjacent work 3 reading boys and 3 herons soiling the soyle. Katie Lyle’s Everything in the next hour will be true is a striking and unusual portrait in her oeuvre. Cartoonish and automaton-like eyes keep it uncertain whether or not the face you’re staring up at refers to a subject or an object.
Sojourner Truth Parsons, Everybody plays the fool
Sojourner Truth Parsons’s nylon flag Everybody plays the fool hangs over the entrance way to the artists’ studios in the back. On a field of thick blue brush strokes, three slugs and a piece of coal form a beguiling eye, and two fingers reach for the silhouette of a cigarette, but they might be seen as a pair of machetes with pink handles. As the translucent surface subtly undulates in the feeble breeze produced by the building’s ventilation, the shapes seem as though they’ll start to float away from each other.
Lauren Rice’s Even the contemplative life is only an effort, my dear, to hide the body so the feet won’t stick out takes it title from Djuna Barnes’s Nightwood and its composition cites The Rope (a feminine spirituality group on The Left Bank). This painting seems like it comes with a reading list, but these references resonate more as footnotes to Rice’s terracotta dreamscape with a Mount Rushmore of anons and two cigarettes in black Jacuzzi blob. Refreshingly, the commanding figures and objects that appear in all these works obfuscate dramatic symbolism without relying on total abstraction.
Model Projects: http://modelprojects.org/
Aligned with the curve of night continues until September 21.
Steffanie Ling's essays, criticism, and art writing have been published alongside exhibitions, in print, and online in Canada and the United States. She is the editor of Bartleby Review, an occasional pamphlet of criticism and writing in Vancouver, and a curator at CSA Space. She is Akimblog’s Vancouver correspondent and can be followed on Twitter and Instagram @steffbao.
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