Visions of Yore-A Juried Exhibition

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Agape, 2011 Silkscreen And Mixed Media On Mylar 36 X 55 Inches © Courtesy of the Artist and Gallery Hijinks
Visions of Yore-A Juried Exhibition
Curated by: Tanya Gayer, Emily Lakin

2309 Bryant Street
San Francisco, CA 94110
July 7th, 2012 - July 28th, 2012
Opening: July 7th, 2012 6:00 PM - 10:00 PM

415 3090440
collages, mixed-media, digital, installation, graffiti/street-art, video-art, performance, conceptual, pop, landscape, surrealism, figurative, modern, traditional, sculpture
$20 for submissions ($20 for 3 images)

Gallery Hijinks is proud to announce the artists chosen for Visions of Yore curated by Tanya Gayer and Emily Lakin. The selected artists, lecturer, and performance artists who make up Visions of Yore represent a myriad of ways to interpret memory. The artists chosen for the exhibition are ones who have created work which represent an ephemeral state of being in regards to the visual and formulated exploration of their memories.

Selected works include those by Megan Gorham, Erin Mitchell, Alexis Arnold, Lori Hepner, Allyson Seal, Daryll Peirce, Dan Herrera, Kylea Borges, Christine Elfman, Lacy Davis, & Margo Duvall. The exhibition will include a lecture by Renée Gertler and live performance by Clint Sleeper and Audrey Love as Robot Versus Future on July 13th.

About the Artists
Megan Gorham’s large format photos brings attention to the small details in everyday scenes. this finegrained visual saturation mimics the human eye, making the viewer perceive the photo as a recollection of their own memory of shores once visited.

Daryll Pierce dives into his mental and physical state for the past 18 months, culminating with a layered painting documenting his past and process. Representing both a sense of gnawing sleeplessness that feeds his dark side and blissful moments of dreamlike consciousness, it is a meditative statement urging us to move forward no matter the obstacles.

Dan Herrera uses hand-built sets composed into digital compositions and 19th century photographic printing techniques to produce prints that are both old and new, familiar and unreal. His medium invites us to imagine a sci-fi reality of the past existing as a memory of an alternate universe.

Kylea Borges collages vintage and antique papers into an organic form, creating a playful exercise in contrast of man-made vs natural and patterned vs loosely constructed. Her work plays upon our shared history in documentation and manners of archiving events of the past.

Christine Elfman reinforces our inability to construct intact memories or keep recollections from fading. A painting using the juice of a flower to paint its own fugitive image loses color each time it is viewed. A photograph of a handmade dress with light sensitive lining crystallizes a moment that will never happen again. The act of exposing these processes in tactile form reflects on the absurdity of using memory as a true image.

Erin Mitchell explores the disorientation and distortion linked to the psychosomatic experience of trauma. She creates forms and spaces that re-envision this complex experience, often aligning themes of the unharnessed chaos and force of natural disaster with the memory and intimate experience of personal disaster.
Allyson Seal endeavors to explore relationships between people, memory and language. She works intuitively with our instincts to organize and categorize our emotions and personalities. Seal explores how we choose to communicate our memories and what aspects trigger this action.

Margo Duvall investigates the role of photography as a means of documentation for moments that have passed, on both personal and historical levels. Photographs, however, also provide us with a false sense of security. Time moves on, photographs fade, people die, and memory deteriorates. Duvall’s delicate installation both reference the fragile and time sensitive elements of memory and photography’s role in this process.

Alexis Arnold creates books frozen with heavy crystal growth that can be seen as artifacts or geologic specimens laden with the history of time, use, and narrative. Stories often exist in our memories while a book remains a spine on a shelf. Often we shape our experiences and thoughts from specific stories that play into our memories and thought processes. Arnold creates a fanciful way of regarding stories and their roles in our present and past experiences.

Lacy Davis studies different eras of life, from childhood to adolescence to adulthood. She represents how the passage of time exists and how memories of certain instances can never tell an entirely truthful story. Often her witty and dry sense of humor play a large role in allowing her audience the ability to relate to childhood experiences and translating a memory outside of personal headspace.

Lori Hepner’s work focuses on the present generation and modes of instantaneous documentation or identity in the digital age. Hepner has created a series of virtual portraits based off of 140 character updates on Twitter that allow for virtual personas to be created that differs from physical. This series looks at portraiture through the lens of online updates with larger than life personalities. Each portrait represents a fleeting moment of identity and questions how we choose to remember certain instances via the web or in the physical world.

Schedule of Events
July 7th, 2012: Opening reception of selected works by Megan Gorham, Erin Mitchell, Alexis Arnold, Lori Hepner, Allyson Seal, Daryll Peirce, Dan Herrera, Kylea Borges, Christine Elfman, Lacy Davis, & Margo Duvall.
July 13th, 2012: Lecture by Renée Gertler and a live performance by Clint Sleeper and Audrey Love as Robot Versus Future. Admission is $10 at the door.
July 28th, 2012: Auction of available works from the exhibition.