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This exhibition is simply about taking risks. As an emerging artist, I am well aware of the frustrations involved in trying make art while trying to survive in New York City. I found myself in the unique position of being "behind the scenes" as the Archivist at P.P.O.W, when I came up with idea for secretly throwing an exhibition when my bosses were out of town on vacation. After letting one of the gallery’s artists in on this little fantasy, he suggested let the owners in on the idea. When I did, they enthusiastically supported my idea. |
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Risky Business – Dana Dale Lee
This exhibition is simply about taking risks.
As an emerging artist, I am well aware of the frustrations involved in trying make art while trying to survive in New York City. I found myself in the unique position of being "behind the scenes" as the Archivist at P.P.O.W, when I came up with idea for secretly throwing an exhibition when my bosses were out of town on vacation. After letting one of the gallery’s artists in on this little fantasy, he suggested let the owners in on the idea. When I did, they enthusiastically supported my idea.
The approach I took to curating the work was a bit different: I curated the artists, rather than the work. I found emerging, unrepresented artists that were making art that didn’t conform to current trends, and was sincere and interesting. Being that the exhibition is open-ended, I proposed to each artist to put their best foot forward to use the exhibition to show work that is risky, that might not be so “gallery-friendly.”
Derek Ayres illuminates the beautiful in the potentially destructive by sculpting a life-sized wooden sniper rifle. In a similar, yet converse vein, Anahita Vossoughi reconfigures appropriated images of Guantanamo Bay POW’s into beautiful painted images of ornamental objects. Margaret Roleke’s enormous collage of toy army-men (based on kill numbers from the war in Iraq) results in an arabesque, yet overwhelming abstract image. Suicide Artist’s red ink-stained work uses a detonative technique to investigate horror and fear.
Exposing what is universal in our vulnerability, Rafael Francisco Salas depicts a lone figure, his mother, in a sublime, psychological portrait. Utilizing religious and pop-culture imagery, Derek Cracco creates slick, resinous collages that question the differences between icons and idols, and their impact. Luigi Cicala paints action figure toys that articulate a Max Beckmann-esque humanism evoking tension and wit.
Sharon Thomas’ site-specific installations and drawings depict frightening characters in imaginary space to create tension and beauty. Claudia Hart’s video melds technology with sensuality with an animation portraying a virtual woman who gently moves in her sleep yet cycles through sequences of movements like clockwork.
Using photo collage and an exacting illustrative process, Aaron Zimmerman crafts imagery whose perversity is matched by its beauty and political awareness. Michelle Handelman’s video and photographs of masked figures lead us on a metaphorical journey whose path is illuminated by fear and amusement. And lastly, artist/curator Dana Dale Lee’s (myself) exhibits a violent, humorous and painterly exploration of the known and unknown.
