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Within the first few seconds of meeting or seeing another hu man being we have already developed a narrative of who that person might be . Without any prior knowledge or truths about an individual our minds draw from categories and make associations that may or may not ascribe to this u nfamiliar figure. Regardless of time\, location\, or status the way one pre sents her/himself has historically weighed heavily on the perception others have. Particularly\, the way one is Fashioned is quite telling. Even the m ost minute details\, from a button to fabric choice\, can unveil a trajecto ry of traditions. Whether we intend this or not\, self presentation serves as a window into our lifestyles\, morals\, cultures\, and so much more. The tool of visual assessment through fashioning is so primary that we take th ese bits of telling information for granted.

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What if the imagery we have become accustomed to did not quite match up with the figure who bears it? Where would we look and what conclusions would we draw? The collection of artists in Corridor Gallery's newest exhibition\, Fashioned in Time\, provoke the viewer to consider the role of the fig ure within various contexts. The works address a strong range of topics fro m racial and gender identity to iconography. 

Through the use of Classical Western literature and mythology Elizabeth Colomba displaces the African American female. The subjects and symbols in Co lomba's paintings reveal a great deal of the realities of limitations place d on African Americans throughout time. The women in Jamea Richmond -Edwards’ paintings manage to be simultaneously strong and vulnera ble. Their meticulously worked dresses are almost as captivating as their g aze. By eliminating the form all together\, Meridith McNeal's silhouetted pieces draw attention to the absence of the dated\, histori cal garments. By giving her audience the freedom to imagine the clothing an d women\, much is revealed about the ways we have been socialized to see. I n the same vein\, Eileen Karakashian’s mysterious painting s of faceless mannequins beckon a narrative that only the viewer can subjec tively create. Alisha Wormsley’s photographic work “Al l This and Heaven Too” reference the notions of time\, shifting visual language\, and African American identity\, by visually contrasting time sp ecific symbols. Hugh Hayden’s usage of African American ha ir braiding techniques to anthropomorphize iconic animals recontextualizes the familiar. Through abstraction his work subtly raises racial issues of p ower pertaining to the body.

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In a time where we are bombarded with an over-saturation of imagery it becomes difficult to filter through visual s. Our world is quickly moving towards overlapping collages of historical r eference. Elizabeth Colomba\, Jamea Richmond-Edwards\, Meridith McNeal\, Ei leen Karakashian\, Alisha Wormsley\, and Hugh Hayden offer refreshingly uni que interventions to the discourse of representation as well as add to the conversation. We invite you to challenge the standard definition of fashion and consider its social implications with Fashioned in Time November 13th\, 2011- January 7th\, 2012 at Corridor Gallery 33 4 Grand Avenue\, Brooklyn New York.

DTEND:20120108 DTSTAMP:20141128T062334 DTSTART:20111113 GEO:40.6863266;-73.9625705 LOCATION:Corridor Gallery\,334 Grand Avenue \nBrooklyn\, NY 11238 SEQUENCE:0 SUMMARY:FASHIONED IN TIME \, elizabeth colomba\, Hugh Hayden\, Eileen Karak ashian\, Meridith McNeal\, Jamea Richmond-Edwards\, Alisha Wormsley UID:191672 END:VEVENT END:VCALENDAR