( Friday Night Lights &) Sunday Afternoons

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( Friday Night Lights &) Sunday Afternoons

3119 Chadwick Drive
Los Angeles, CA 90032
August 21st, 2011 - September 4th, 2011
Opening: August 21st, 2011 5:00 AM - 8:00 PM

eagle rock/highland park
By appointment
mixed-media, installation, performance, conceptual, pop, landscape, surrealism, figurative, modern, sculpture


Summercamp's ProjectProject presents Friday Night Lights & Sunday Afternoons- an evening of three performances and a daytime outdoor group exhibition of artists who work within the realms of exploring the unknown. Both events will feature a performance by Liza Wade Green, written during her Fall 2010 Residency at Summercamp. 

Sunday Afternoon:
At the bottom of the hill, Erin Payne makes visible a botanical journey that is often not considered. Payne will visually represent the ancestral home of our Crape Myrtle tree as a painted curved backdrop of tree’s landscape of origin in China. Payne explores anthropomorphic ideas of nature examining itself through human constructs by using a tall mirror allowing the tree to view itself within its native landscape. From the bottom of the hill to the top,Matt Wardell's construction of wood, fabric, found and constructed elements traverses the length of Summercamp's hill. Maybe a cantaloupe will be involved, but its hard to say.

Also near the base of the hill, Suzanne Fontaine will hold A NEW KIND OF FORTUNE TELLING*. This interactive experience
seeking understanding
of destiny
and self.
*Readings limited to one per person.

Aili Schmeltz's Tomorrowland  explores the idea that utopia can be considered not only a place or a goal, but also as the very act of striving for such a target. These hybridized structures are materializations, remnants of an ideal that never was and may never be. As fallen monuments to a utopic philosophy, they function as relics of both a “good place” and “no place.” They nod towards a bright future and a fallen past, recontextualizing and recombining materials that are both nostalgic and futuristic. An embedded sense of naiveté is inherent to the objects, formed from a chemical bond of sunshine and noir that was repeatedly cooled and heated by urban temperament and artifice. Part architectural, part fossil, part potential: these works utilize discarded building materials that appear to have crystallized within a ‘natural’ process—strata that have undergone philosophical transformation yet to be fulfilled. Michael Carter's Appetite for Destruction, also explores the role of ideology, but in social practice.  By investigating the embedded but often overlooked content of the ubiquitous reception table, Carter will stage an encounter where the expectations of interaction are unknown and uncertain. Carter poses the question:  Do the ideological assumptions of contemporary social practice actually limit the goal of individual empowerment?  Ultimately, does power only grow out of the -metaphorical or actual - barrel of a gun?

In parallel, the illusive nature of physical reality and how our beliefs and preconceived ideas prejudice our responses to everything around us fascinates Marcus Durkheim. Objects become extensions of the self and only gain meaning by the associations we attach to them through experience, memories and emotions. A cupcake may remind one person about a wonderful experience, while another may be triggered to relive a trauma, and yet, another has no connection to cup cakes whatsoever. The objects in our life can reflect who we are, what we think and feel: inert avatars, ambassadors of self. "Things are not what they appear to be: nor are they otherwise."  Surangama Sutra

For the solo show in Guestroom, Alison Owen has constructed House Rules. Owen studied the facts of the house- its narrative history, the materials and patterns found in it, the specific movement of the light across the walls. By tracking this data Owen hopes to discover part of the intangible nature of the space. Intrigued by the house’s history, 3119 Chadwick is not a static place. Owen imagined it sending out tendrils like a grapevine, expanding, covering over old bits, breaking off into new rooms and new hiding places, like the labyrinthine house in Bruno Schulz’s book “The Street of Crocodiles”. Owen's composition is an attempt to create a new and logical offshoot of the house, arrested mid-growth.

And again, to end the evening, Liza Wade Green's HILL HOUSE MINE. Because the the audience travels through the house Hill House Mine  starts promptly at 7:45.

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