We turn…
The 2021 SHIFT Residency Exhibition
June 18-July 17, 2021
curated by danilo machado
Ezra Benus
Barrie Cline
Anaïs Duplan
Clarinda Mac Low
Isaac Pool
Jeannette Rodríguez Píneda
Stephen Sewell
Río Sofia
Margaret Rose Vendryes
“In recent months, our thinking turned a corner.
While it’s true we’ll never outrun the folks we grew up with,
it’s also true we have the choice to stop running.
We can turn around ‘n’ touch.”~ Anaïs Duplan
To turn is to change position, to gain or lose a vantage point, to enter a new circumstance. In this exhibition, the artists of the 2020-2021 EFA SHIFT Residency consider many kinds of turns and many kinds of “we.” Through a range of material and forms—including video, collage, ceramic, photography, installation, and painting—the work presented conjures the “we” of specific communities and collective efforts, many made tenuous under pandemic circumstances. Indeed, an underlying “we” is the residency itself and the circumstances in which these artists and art workers inhabited studios and homes, and built relationships with each other.
These artists negotiate the role of the individual, the archive, and of documentation through tactics of tactility, narrative, and abstraction. In doing so, they conjure larger histories of labor, colonialism, and environment, and consider alternatives to representation, binaries, and disclosure. The presentation of this exhibition is in part a consideration of the consequences of materiality, objectness, and touch after a year of the forced virtual. As pandemic, protest, and loss continue, what do we turn towards or away from? Who do we turn to for care? Where do we turn for community? While not all of the work in this exhibition is a direct address to the current context, the broader questions posed by it remain urgent.
EVENTS
Friday, June 18, 4-8 PM
Opening Reception for We turn - the 2021 SHIFT Residency Exhibition
Saturday, July 17, 4-6 PM
Closing Reception for We turn - The 2020/2021 SHIFT Residency Exhibition
Exhibition Images by Yann Chashanovski
![Rio Sofia, Chestfeeding. 2021. Graphite, paint, pastel, marker on paper.[Image Description: A medium sized abstract drawing with hues of yellow, pink, blue, grey, red, green, and black. Two green eyes near the center of the page face the viewer, the rest of the face is nestled behind a rounded pink and yellow mound. The mound casts a shadow onto the face, in grey graphite. Behind the eyes is the shape of a large steady hand, and below that hand—by the pink fleshy mound—there is much smaller, green hand. There is a four leaf clover near the lower left corner of the page, the plant’s stem glides to the right.]](https://images.squarespace-cdn.com/content/v1/537c9eb6e4b0ca838c2f4f52/1623442211473-LQLSHL517EUD0TCLJLFL/rio_sofia.png)
Rio Sofia, Chestfeeding. 2021. Graphite, paint, pastel, marker on paper.
[Image Description: A view of the Project Space gallery as you enter. A former manufacturing space, the gallery shows residual traces of its industrial past – grey-painted concrete floors, white concrete beams running along the ceiling, industrial radiators and conduits. An 8’ high pink wall with the exhibition text on the left side of the image frames out a viewing alcove on the right side containing the work of Margaret Rose Vendryes. Vendryes’s work consists of nine framed prints assembled as a grid on the wall; two framed gesso and paper on canvas works lay horizontally on pedestals; a digital collage on acrylic, a sculpture taking the shape of a bag of shredded papers leaning on the floor; and three painted wood shadow box mounted on a straight vertical line. A row of aluminum windows on the right side of the image looks out onto a building just across West 39th Street.]
[Image Description: A view of the gallery. On the left we see coffee colored silk prints hanging from the ceiling, a series of silk prints by Jeanette Rodríguez Píneda. They appear light and flowy. In the middle of the room are three rectangular blocks about 3 feet high. Each one has a different sculpture sitting atop. From right to left there is: a gold orbus vase. Two windmills poking out of a rock-like base that reach up from a common mound. A silver-painted urn with carvings on the outside. An acrylic drop cloth hangs from the wall. The sculptures and dropcloth are the works of Barrie Cline’s collaboration with the Workers Art Coalition. Beyond the first two pieces are the pink wall welcoming guests with a description of the exhibition. Next to the welcome wall is the alcove of work belonging to Margaret Rose Vendryes.]
Barrie Cline, A Rite for Regeneration (IOU), 2021. Ceramic, coal, and mixed media. Dimensions variable. Additional ceramic objects (cast pliers and large pliers plaque) made by Paul Vance.
[Image Description: A silver painted urn. Two figures are carved into it and the text informs the viewer that the piece is in honor of lives lost.]
Ashly DaCosta, What Do You Think is Missing in Discussions Regarding the Climate Crisis?, 2021. Audio recording, 00:05:42.
[Image Description: A sculpture of two tree trunks both connected at the bottom. They are cut off at the top to reveal wind turbines. At the front is a pink slab with text that says, “Labor for Black Lives” and “One Love.”]
[Image Description: The gallery continues with grey concrete floors and white walls, with many industrial pipes and track lights running across the white ceiling. At left, a hand painted scroll depicting green and blue landscape is suspended from the ceiling. At right, three sculptures in gold, silver, and white are sitting on their respective pedestals. Both the scrolls and sculptures are by Barrie Cline, in collaboration with Workers Art Coalition (Rebecca A. Carlton, Ashly DaCosta, Paul Vance). At right, closer to us are 24 Vandyke brown prints on silk organza by Jeannette Rodríguez Píneda. The prints depict and repeat a portrait of a woman smiling.]
Rebecca A. Carlton, Work for a Living World, 2021. Acrylic on recycled dropcloth. 4x12’.
[Image Description: Barrie Cline collaborates with artists Ashly DaCosta and Rebecca A. Carlton, the painter of this piece, to focus on climate change and the right to organize. The painting shows the soft white outlines of workers in hard hats standing in front of rolling hills. In the full picture we see wind turbines turning in the distance.]
Jeanette Rodríguez Píneda, La Ilusión que nosotros existimos en un solo momento, 2021. 24 Vandyke Brown Prints on Silk Organza. Individual print size: 44 x 60”, Installation size: 94 x 60 x 96”.
[Image Description: The brown silk organza hangs from the ceiling in a row. It displays two pictures that evoke a feeling of history and family. Beside the prints is an altar of natural objects, test prints, and personal ephemera that honor place and lineage. The installation shows both a story of family as well as the creative process.]
Margaret Rose Vendryes, Unmade A, 2010-2021. Gesso and paper on canvas. 28 x 18 1/4 inches.
Margaret Rose Vendryes, Unmade B, 2010-2021. Gesso and paper on canvas. 28 x 18 1/4 inches.
Margaret Rose Vendryes, Unmade C, 2010–2021. Variable dimensions. Mixed media.
Margaret Rose Vendryes, WHILE… I, 2021. Painted wood shadow box, machine shredded handwritten letters, painted wood letter “I.” 11 ½ x 13 ½ x 3 ½ inches.
Margaret Rose Vendryes, BECAUSE… I, 2021. Painted wood shadow box, machine shredded handwritten letters, painted wood letter “I.” 11 ½ x 13 ½ x 3 ½ inches.
Margaret Rose Vendryes, I KNOW, 2021. Painted wood shadow box, machine shredded handwritten letters, painted wood letter “I.” 11 ½ x 13 ½ x 3 ½ inches.
[Image Description: An alcove of work belonging to Margaret Rose Vendryes. Vendryes’s work consists of nine framed prints assembled as a grid on the wall; two framed gesso and paper on canvas works lay horizontally on pedestals; a digital collage on acrylic, a sculpture taking the shape of a bag of shredded papers leaning on the floor; and three painted wood shadow box mounted on a straight vertical line. The works tap into memories and experiences left behind.]
Margaret Rose Vendryes, Unmade San Diego, 2021. Digital pigment print, etched acrylic, painted wood frame. 19 5/8 x 19 5/8 inches.
Margaret Rose Vendryes, Shredded, 2021. Digital collage on acrylic. 30 x 30 inches.
Margaret Rose Vendryes, Unmade 1 thru 8, 2021. Digital pigment print, etched acrylic, painted wood frame. 19 5/8 x 19 5/8 inches.
Margaret Rose Vendryes, Unmade San Diego, 2021. Digital pigment print, etched acrylic, painted wood frame. 19 5/8 x 19 5/8 inches.
[Image Description: A view of the gallery. It is an open part of the space with light pouring in from unseen windows and light fixtures on the ceiling. The floor is concrete. We see the 12 hangings of silk prints by Jeanette Rodríguez Píneda each one with the same two photos. On a back wall is a vast collection of colorful mixed media drawings by Rio Sofia. The drawings are colorful and playful and depict limbs and flowers. In front of Sofia’s work is a wool and cotton rug by Ezra Banus that has been lifted off the floor by a rectangular platform.]
[Image Description: A view of the southern part of the gallery. The left wall is painted yellow and the others are white. Spotlights are hung on the ceiling in rows. The paintings and sculpture installation of Ezra Benus flank the wall with Rio Sofia’s illustrations.]
Rio Sofia, Untitled Drawing Series, 2020-2021. Graphite, charcoal, oil stick, acrylic paint, marker on paper. Dimensions Variable (small drawings 9x12 in., medium drawings 20x26 in., large drawing 30x40 in.)
[Image Description: A wall full of carefully placed playful and energetic compositions. The drawings have recurring limbs and flowers spread throughout.]
Ezra Benus, SUN / MOON, 2020. Acrylic on canvas, 7 18 x 24 inch canvases.
[Image Description: Seven abstract acrylic paintings are hung side by side on a wall. Each painting contains three dimensional shapes. Utilizing color to create the illusion of depth. The shapes, most of which are three-dimensional triangles, look as though they are floating in space. Each painting has a color reference to another one creating a cohesive collection.]
Ezra Benus, Touch Me Tenderly, 2021. Rug (acrylic, wool, cotton on poly-cotton cloth), 2 x 4 feet.
[Image Description: A colorful rug lies on an elevated platform. Words are sewn into the rug, “Touch Me Tenderly”.]
Ezra Benus, Hold (For) Me, 2020. Digital photo, print size and material varied acrylic print 11 x 14 inches, Riso print 8.5 x 11 inches. Edition of 100.
Ezra Benus, All Hands On Deck/Rock On, 2019. Digital photo, print size and material varied Acrylic print 12 x 12 inches, Riso print 8.5 x 11 inches. Edition of 100.
Ezra Benus, Me/You or Does It Become Us? 2019, Digital photo, print size and material varied. Acrylic print 11 x 14 inches, Riso print 8.5 x 11 inches. Edition of 100.
[Image Description: Each of these three pictures appear small on the wide yellow wall they are hung on. The pictures remind us of moments between health care workers and their patients.]
Ezra Benus, Stretch/Tourniquet, 2021 glass panel from donated desk, used tourniquet from infusions, plexiglass detritus from Jeannette, orange triangle hazard construction signs from street, acrylic paint. installation size varies (approximately 6 x 6 feet of wall space).
[Image Description: A rectangular piece of glass is leaning precariously against the yellow wall, supported only by an orange/red construction sign you typically see on the street. Next to the glass, another identical triangle sign is mounted on the wall. Below that sign, is another blue triangle created by tourniquet.]
[Image Description: A view of the gallery from the far right. On a movable wall hangs Clarinda Mac Low’s large collage work. The collage is made up of diluted blues and some shocks of a vibrant red. It shows a person with a backpack looking into the distance with a fence blocking their way. Beyond Low’s work the rest of the gallery can be seen peeking from behind.]
Clarinda Mac Low, Sinking Shore (Timeline), 2021. Mixed media collage on paper, 52 x 67 inches.
[Image Description: A backpacked figure looks out from the center of the composition, surrounded by bodies of water frozen and flowing. The figure is stopped by an interlocked fence. A red ferry is in view giving the painting a sudden splash of red amongst its blue tones.]
[Image Description: An emptier part of the gallery. A pink wall makes up a far corner and one side of an entrance way into the far back of the gallery. The wall that makes up the other side of the entrance has a slatwall insert with a black shirt hanging on it (Isaac Pool). On the wall ahead there are five circular pieces containing text by Anaïs Duplan. Each one is made of vinyl and metal. Text is printed above the circles: “I start to believe in windows and openings ‘n’ in an image as a page from a book framed, or accidentally dreamed, facing forward, then facing the back.”]
Anaïs Duplan, Excerpts from I Need Music, forthcoming from Action Books, 2021, Wall vinyl texts and metal prints, dimensions variable.
[Image Description: Five circles hang on the wall in a straight line. The circles show specific parts of pages or text.]
[Image Description: A view of three white walls. This is a corner of the gallery that is nearly hidden from the rest. The concrete floor continues into it. On the wall ahead the following text is written, “This next image is in fact a little exterior. Some folks are paid to make art ‘n’ some folks aren’t. In that sense, the room is the perfect architectural form. Some words are uself ‘n’ some of it isn’t.” In the high right corner a disco ball is pictured mid-turn. Small specks of bright white light bounce off of the ball from a light source we cannot see. The specks of light bathe the walls around it. On the right wall there is a slatwall inset. A packaged costume hangs on the inset, unopened. This is one of Isaac Pool’s installations in the gallery.]
Isaac Pool, More, most, 2021. Repaired mirror ball, pin spotlight, Slatwall inset and hook, packaged costume headset, dimensions variable.
From left to right:
Isaac Pool, Hit So Hard, 2020. Packaged pig costume accessory set, pepper spray, monkey's fist, 16x10x3".
Isaac Pool, She's Bad, 2020. Embellished clothing hanger, embroidered shirt, 20x15x3".
Isaac Pool, She's Bad, 2020. Embellished clothing hanger, embroidered shirt, 20x15x3".
[Image Description: The clothing hanger's base is wrapped in leather with a small collar and disappearing zipper. It is made to look as though the hanger is wearing a leather jacket and a red and white striped shirt. The shirt on the hanger says, “All Eyes On Me! Me! Me!”.]
Isaac Pool, Daydream Interlude, 2021. Slatwall inset and hook, packaged keychains, 5x3x6".
[Image Desciption: A hook of keychains that say, “Parental Advisory”. They are lined up to look like what one would find in a store.]
[Image Description: Two walls painted dark gray. On the left wall a film is playing from a projector, a film by Stephen Sewell. On the right, another film is playing on a monitor built into the wall, a collaboration between Clarinda Mac Low and Sto Len. Four seats face the projected film and a white rectangular bench faces the monitor.]
Stephen Sewell, & (How to catch a lobster) [Working Title], 2020. Excerpt of HD Video with Sound. 00:11:30 excerpt of work-in-progress.
[Image Description: Two walls painted dark gray. On the left wall a film is playing from a projector, a film by Stephen Sewell. Four seats face the projected film. & (How to catch a lobster) is a film examining the lobster industry of Maine, USA. As one of the most lucrative organisms of the Atlantic Ocean, Homarus americanus (the American lobster) is crucial to the coastal communities of Maine and global seafood trade. Through interviews with fishermen, researchers and industry experts the film explores the history of the fishery and the effects of the competing demands of global capitalism, climate change, conservation efforts and ideology on the lives and politics of the people in it.]
Clarinda Mac Low with Sto Len, Do we always need to draw the line?, 2021. Video, 0:08:26
[Image Description: Scenes scored with singing show flowing, bubbling water echoing Sewell’s Maine and questions how and why lines are made. Like the collage, this video is concerned with climate change with a focus on the shore.]
Anaïs Duplan, The Lovers Are the Audience Who Watch, 2021, video, 1:00:00
[Image Description: Duplan presents The Lovers Are the Audience Who Watch in two channels, which borrows language from Julianne Huxtable’s Mucus in My Pineal Gland (2017) and considers video as ambient. Also shown are excerpts from Blacksapce: On the Poetics of an Afrofuture (2019) snippets of text interlaced with images printed on circular metal, recalling the shape of vinyl records.]