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Honey Ramka presents The Cutting, The Cloaking, a selection of works that exploit the aesthetic and narrative capabilities of cutting and layering. With Paul Bergeron, Gaby Collins-Fernandez, Mike Estabrook, and Jason Reyen. Opens Friday, June 1st (6-9 PM) and runs through Sunday, July 8th.

Also on view in the project space is Dream of Interpretations, featuring work by Michelle Arlos.

As Arlos writes:

"I conceived of this series one day while looking at a coffee table strewn with books, toys, and drawing materials. I imagined a thought bubble above the books full of stream-of-consciousness doodles. Keeping this image of dreaming books in my mind, I made a drawing as a sort of surrealist exercise. The concurrent paradigm shift was a reversal, one where reality is a product of the collective unconscious of books that dream in concert, as opposed to the typical understanding that books are the articulation of human imagination. That is, that humans and their interactions are the dreams of books instead of books being the dreams of humans. The artworks in Dream of Interpretations are the hybridized result of this exercise: half photorealist still-lives, half doodles.

Freud’s The Interpretation of Dreams set out to explore the nature of dreams, where they come from (desire for wish fulfillment), and what they mean (the repression of desire). If dreams are to be acknowledged as objects, might we also acknowledge the strange nature of books? If a book exists, doesn’t the truth conveyed within it also exist? If so, didn’t it always exist? This truth, that truth, warring truths, one truth — difficult to imagine, yet an interesting exercise. In the spirit of play and the desire for understanding, might we imagine the notion that we are the dream of the longer-lasting and thus longer-living archetypes, or 'texts,' that surround us? Through this conceptual exercise of reversal, the hope is that coexisting contradiction might lead to cooperation before it leads to death.

Through imagining that books might possess thoughts and dreams that extend beyond their physical objecthood (a 'visible subtext'), I arrived at a new question: 'Who came first, the reader or the viewer?' By imagining making the subtext visible through the doodle, I arrived at another hybrid: the reader/viewer. If we look at reading as the result of making visual the most important faculty, that of understanding, then isn’t the writer first the reader/viewer? Are we viewers until we’re readers? Or, are we only viewers once we can read? How can we see unless we’re wondering 'What is that?' In doing so, we become active lookers, and as such, we are readers."





Mike Estabrook
from B_Potemk: The Oval Rolls Unevenly Over the Ungulate
2014
digital animation on appropriated film footage
ON VIEW:
The Cutting, The Cloaking &
Dream of Interpretations
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