Los Angeles – “Work from home” It is a sentence that felt like an oxymoron before 2020. Labor and home were different frameworks; We had spaces for industry and production leisure. Now, however, the border between work and home is becoming increasingly blurred in the artistic representation. Variable landscape is the topic of California Institute of Postgraduate Exhibition at California. What is creating is wonderful, the households mean what to eat for us, sleeping, to grow children, it becomes a place to rest. and work.
The houses are physical and emotional spaces, and their details – Chopped bedroom Teiled floors to photo albums – Provide these exclusive worlds. Chaska Jurado has an intense part of the internal interior archive of the “De Colores” (All 2025 works). On a wall around it, it is transformed on a carpet of the same floor, into the same nostalgic photo with a thick and bright thread (“translation”). Ordinary home material remembers and excludes illustrative memories: Jennifer Van’s “resilience” is the image of a wide and white hand, located in front of a delicate face. Cryptic photo is stretched across 12 chipped wood panels, interpolate lines that divide the lines from another.
At home, intimate attachments make a banal elements with unpredictable surprises and mysterious power. Amanda Teixei “orange care”, “The golden thread”, as if each potential relic was etheric. curl to be resembling the internal fold of a tulip or ranunculus.
A house can be like a black box frequently: only in terms of what is included in the system and is emerging only without detail of its internal work. This concept is literalized in Katrina Parker’s “Expanse”, hanging cylinder, hanging. In its upper lights, a LED emits the purple light that emerges on the other side, as a purple circle of light. Jane Lee’s “falling walls and floors”, a long white sheet hangs from a thin rod to the ground from a parallel wall and a parallel pool. Lee’s oil well gesture gestures are absorbent, disappearing in folded cloth.
Behind the closed doors take a new charge. Having felt like snooping such works, the meaning of many photographs, sculptures and drawings did not darken properly. Some things don’t want to see, they will only see.
Working from home: Calarts Postgrad exhibition The Callars Reef continues to the residence (The Reef, 1933 in South Broadway, California). The exhibition was commissioned by Andrew McNeely.
