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Under the Yellow Wood / we do not have to inherit everything they leave for us

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Botello_i_would_have_10_v2
I Would Have , 2006 Mixed Media © Rochelle Botello
Jaquis_thetwins
The Twins, 2006 Lightjet Print 20"x30" © 2006 courtesy of the artist
Botello_flowers_8_v2
Flowers, 2006 Mixed Media © Rochelle Botello
Jaquis_lastfamilyphoto
Last Family Photo, 2006 Lightjet Print 20"x20" © 2006 courtesy of the artist
Under the Yellow Wood / we do not have to inherit everything they leave for us

208 S. La Brea Ave
Inglewood, CA 90301
March 16th, 2007 - April 7th, 2007
Opening: March 16th, 2007 7:00 PM - 10:00 PM

QUICK FACTS
WEBSITE:  
http://www.southlabreagallery.com
NEIGHBORHOOD:  
culver city/west la
EMAIL:  
southlabrea@yahoo.com
PHONE:  
310.486.0266
OPEN HOURS:  
Saturday, 11am - 5pm
TAGS:  
sculpture, photography, video

DESCRIPTION

South La Brea Gallery is pleased to present two solo exhibitions, Rochelle Botello’s new series of sculptures and drawings, Under the Yellow Wood, and Michele Jaquis’ video and digital photography series entitled we do not have to inherit everything they leave for us.

 

Rochelle Botello’s third solo exhibition at SLBG, Under the Yellow Wood, brings together both her sculptural works and idiosyncratic drawings. Together the sculpture and drawings construct scenes that question and challenge the psychological underbelly of everyday existence by playfully blurring the lines between experiences, both real and imagined. Using humor and the absurd, Botello crafts stories that tease the viewer’s sensibilities about identity, sexuality and desire. Constructed in bright color combinations, decorative patterns in unexpected juxtapositions and often pieced together with everyday materials such as paper, duct tape and cardboard, the works are imbued with wit and humor as they explore the contradictory and complex nature inherent in the deeper, darker corners of the psyche.

 

Michele Jaquis’ work, we do not have to inherit everything they leave for us, uses Super 8 and VHS home movies and old family photographs to investigate family dynamics and the complex relationships between the individual members. Applying the style of cinéma vérité as a way to capture situations that already exist, the collection of images and added information re-contextualizes each relationship from a vantage point that is simultaneously inside the family yet outside the specific relationship. The titles and added text use no names, only pronouns, so as to keep the stories anonymous. This is the artist’s family, yet the viewer does not have to know that, and can find their own familiar relationships within the narratives.