Our Shared Past blends the personal and universal through the prism of family
[“It Was Supposed to be Fun.” All original images courtesy of Jefree Shalev.]
[“A Few Years Later,” photograph by Carolyn Brass, 2013.]
The phenomenon of memories can be as slippery and ephemeral as the combination of passing time and thought that lifts them into our consciousness. Does every memory that we keep carry with it some importance and resonance? Why will one recollection occupy our lives while others are overlooked, dismissed or forgotten altogether? Refined through the spectrum of our feelings and emotions, the past can bring us joy, resentment, and even mislead us completely. When combined with nostalgia, that seemingly-universal longing for what can no longer be experienced, a remembrance can even turn into a kind of memorial. Nostalgia can be likened to a funeral where time is buried, yet we still insist on revisiting the headstone, in some weird hope of deciphering these memorials of our past.
And if there is an even greater collective resemblance of memory, it is that they are generally tied into relationships; reveries which seem tethered to our connections to lovers, enemies, our own place in the greater universe, and invariably family. Continue reading →
Home is where the art is with “The Apartment Exhibition”
[Installation shot of the living room of “The Apartment Exhibition.” All photos by Laura Evans.]
Five local creative types are putting space to good use. Curated by Staci Bu Shea, “The Apartment Exhibition” features individual and collaborative work by Thony Aiuppy, Sterling Cox, Lily Kuonen and Edison William. Located in Cox’s 500 square foot, mother-in-law apartment behind his Avondale home, “The Apartment Exhibition” features over 30 pieces that touch on concepts of cohabitation, tenancy and ownership as well as deeper, provocative ideas such as nostalgia, impermanence and belonging. Continue reading →
Thony Aiuppy makes 21st century visual mashups of the sacred, the profane and things in between
[“Doxology (The Bathers),” 48 × 36 inches, oil and acrylic on canvas]
Thony Aiuppy creates pieces that address everything from earthly terrorism to divine grace, sometimes within the same picture frame. Utilizing things like “found” or clip art of combat imagery and landscapes, Aiuppy makes oil canvases that address concepts such as ongoing social injustices as they are fueled by sources as disparate as the polymath spirituality of 19th century Danish philosopher SørenKierkegaard to the gritty, paranoiac-fueled visions of contemporary NYC-bred author Don DeLillo.