King of the Cockroaches

On view by appointment from Sunday, April 23 to May 19, 2017
Opening Sunday, April 23, 2017
6:30 pm – 9:30 pm
Closing Reception, Friday, May 19, 2017
6:30 pm – 10:30 pm
For this Guest Room project, Bill Santen, Becky Brown, Rachel Goodwin, Martha Clippinger, Jess Willa Wheaton and Daniel Lichtman mold existing material into new drawing, painting, sculpture, video and performance. They observe, preserve, hoard, reconfigure and reenact.
Santen creates video portraits of people and objects. Like all documentarians use found rather than created subjects, he observes an immigrant fisherman and reveals the finding and preserving of objects on the Bronx waterfront.
Preservation becomes hoarding in Brown’s “Safe Keeping” series, in which discarded objects are stuffed together in obsessive, futile attempts at storage. Her drawings reconfigure found text in the format of paper products increasingly displaced by digital substitutes.
Goodwin works with paint, wood and found materials, building paintings, collages and constructions – where form and color accumulate, stack, and interact and hold meaning creating odd, disruptive, intense arrangements that suggest both a meditative and playful visual language. Inspired by how we consume our world and dispose of it her work resuscitates the old, broken, tortured objects we live with everyday.
Clippinger is a wonderfully democratic artist who makes art out of discarded pieces of wood without fetishizing her materials. Her use of hothouse colors and repeated geometric shapes adds a further zing to her work. The sources of her wall pieces range from game boards to Mexican and Southern folk art, which she reconfigures through a sensibility informed by a love of carnival colors and a passion for the geometric abstraction, going all the way back to the Bauhaus.
Wheaton‘s work finesses unrelated found printed images into pictorial and spatial confluence, often working from trash. The painting “Fabled Age,” for example, repurposes the background of a discarded newspaper clipping (orange curtains), a clearance-priced coloring book (cloud grid), and an emptied sticker sheet found on the ground (round dial). These aged materials are melded into a new version through oil paint, and through this process seek to produce conflicted space within multiple conventions simultaneously – from Cubism to the space of a flatbed scanner.
Lichtman‘s performances, videos and installations explore the structural and emotional ways in which different kinds of amateur broadcasters imagine their audiences. Using both appropriated and improvised material, Lichtman’s work considers the specific pathos of the lone creator of self-initiated public content – the fantasy, dramatics and versions of freedom involved in producing and believing in an imagined audience.
King of the Cockroaches draws its title from an ancient Arabic preservation myth: the king is invoked as an appeal to insects and worms to refrain from nibbling on important books and scrolls. “Since manuscripts were made with fish-glue, starch-paste, leather and other tasty substances, insect appetites were a constant problem to Arabic paper.”

MATERIA: A temporal collaboration at three atypical sites

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Friday, March 31, 2017 from 6:00 – 8:00 pm
Saturday, April 1, 2017 from 2:00 – 5:00 pm
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Guest Room will host DYSTOPIA/DEMATERIALIZATION with The Old Shed on Gary Road between W. Poplar & Oleander in Carrboro hosting HETEROTOPIA/MATERIALIZATION and Apartment Gallery at Apt 10G, 881 MLK Jr. Blvd. in Chapel Hill hosting UTOPIA/REMATERIALIZATION.

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Part One: Dematerialization/Dystopia
Artists: Allison Coleman, Luke Firle, Lindsay Metivier, Joy Meyer, and Vanessa Murray
Statement
Part One of Materia explores the concept of Dematerialization to it’s Dystopian ends.
In this show we dematerialize the referents of our art practices. We have deconstructed our art practices to their alchemical and discrete natures. By reducing, separating, and isolating our materials and concepts from their origins we aim to create a sense of entropy in the space.
Metivier’s bowl of fruit was left in the sunlight and is transformed by the slow decay of time. Firle’s unfulfilled urge to save and hoard all of his wood shavings becomes the silent remnants of cedar, walnut, pecan, and pine.
Meyer’s clipped faux fur was previously a performative substrate. Here the scraps twist and curl in a gradual disorder. Beneath it, the lambskin becomes an absurdist pedestal.  Coleman, a surrealist painter, offers an amassment of human hair as a nod to Oppenheimer’s tea cup and saucer as well as a reference to the bristles of a brush.
The surfaces of Murray’s paintings are emphasized through the accumulation of layers. The history of her process and decisions regarding color relationships have been scraped from her palette and the cavities of her paintings. The detritus remains become a precarious composition.
The presence of these artifacts in relationship to their representation as photographs creates another layer of disconnection as well as a sense of dislocation. This show intends to evoke a space of contemplative unease about the past and future.
>>Press for MATERIA

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Carley Zarzeka

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Opening Sunday, February 5, 2017
2:00 pm – 6:00 pm with a screening of the documentary film Eva Hesse at 5:00 pm.
Come see an installation of Carley Zarzeka’s elegant post-minimal work in Guest Room’s intimate setting during this Sunday afternoon open house. Zarzeka describes her work as an investigation of the conceptual intersection between space and memory. At 5:00 pm, we’ll screen the 2016 documentary Eva Hesse in the living room.
Zarzeka is an MFA candidate at The University of North Carolina at Chapel Hill and received her BA in studio art from Dickinson College. She is founder and director of The Open Perch Gallery in Carlisle, Pennsylviania.

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#colouredpostcardshare

#colouredpostcardshare with ohmzutt and gnushu
Opening Sunday, December 11, 2016
2:00 pm – 6:00 pm with music by Cyanotype at 4:00 pm
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Bronwyn Carter (gnushu) and Johdi Zutt (ohmzutt) are two artists who met in 1997 and almost immediately began writing mail to each other. The world was on the cusp of fully embracing the Internet and to continue to write letters on paper was a kind of ‘slowness’ protest before that term had even been coined.
The mail has been sent back and forth near 20 years, and about a year ago, evolved into the #colouredpostcardshare – Johdi Zutt sends the drawings and Bronwyn Carter adds the colour.
The evolution of the project can be found at #colouredpostcardshare on Instagram.
https://www.instagram.com/ohmzutt/
https://www.instagram.com/gnushu/
About the artists:
Bronwyn Carter is an artist living in Berlin. She owns a small studio/gallery called Winterhart, designed to accommodate art experiences in diverse forms, run on a not for profit basis. Johdi Zutt (ohmzutt), human, b – 1975

The Right to Work (reprised)

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“The Right to Work (reprised)” by John Taj Neville situates itself as the wreck of a vessel, communicating the dire state of under-paid and under-employed workers.
“Right to Work” legislation in North Carolina renders toothless any labor union within its jurisdiction, disallowing a more equitable society on a local level. State employees are strictly forbidden to organize under penalty of law. An oligarchic state government abides by these laws at the expense of livelihood of its constituency.
As such, the centerpiece of the installation (in it’s original form) was sized to imitate the standard measurements of a coffin. As a burial container for the concerns of laborers, the piece’s composition references the structure of a boat, though not one that can ever hold water. It has “run aground;” progress has been disrupted.
In this reprised version, reconstructed in collaboration with Andy Berner, the vessel is still a wreck but has been partially resurrected into a crude lean-to. A drawing of the original boat/coffin design hangs next to the piece.
“The Right to Work (reprised)” opens Tuesday, November 8, 2016 (election day in the USA) at Guest Room project space. Please join us anytime from 7-10 pm to see this work and also “The Candidates” by Sabine Gruffat. We will also be viewing election results through the evening. BYOB.
“The Right to Work (reprised)” will continue on view until December 1, 2016, by appointment only.

B-Movie Medusa (The Brain That Wouldn’t Die)

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Live Reading: Amy White’s B-Movie Medusa (The Brain That Wouldn’t Die): Mythic Adventures in the Public Domain [in Modular Form with Liquid Implications]

Elin Slavick
October 30 at 9:57pm

The notes I took during Amy White’s epic reading of her brilliant paper written under the late Mary Sheriff’s MA tutelage:
Medusa w a head of poisonous snakes
If u look at her you turn to stone
Public domain means many things
Mythical space imaginary realm
Immaterial commodity
The brain that wouldn’t die
Collective ownership of severed heads
Two-sidedness
Spare body parts
Impatient erratic
Scoops up her head and tries to keep it alive
She becomes angry
Deathlessness of myths
Double your pleasure
Let me die
Dyacope
Keep massaging the heart
Compulsive doubling in brain script
Central condition / poison and cure
Female non person an/other
Severing doubling altering otherness
Optical unconscious
Bataille “great violence in humor”
Horrifying and hilarious
I operate when I am done looking
Operator under the knife – opera
Surgery is art
He claims her head as his own
Authorship
She is an object / a fragment
The part has become the whole
Arbus’ Jewish giant plays the thing
Mythogenetic bond
Verbless fragment
Frozen representation
Lapidary develops patience
Rumors or myths
Faciality/ deleuze guitarri
Crystallizes all redundancies
Center of significance
Bodyless face
You leave me deathless
Contagion of fear
She is a host
Medical <> mythical
Medusa is a communicable disease
Unbodied fragment
Chaos is medusa’s signature
Too uncontrolled
Chaos – Eros
Union is the antidote
Utterance is chaos
Eloquence is medusas quality
Cixous laugh of medusa
Lamenting
Decorpatation
Liquid and dark
Menstruating woman’s look can turn you to stone
Archaeosychic past
Consensual hallucination is cyberspace
Double efficacy / palm plus olive
The reveal like medusa a gaze / verb becomes a noun
Gods and monsters
Medusa is the patron saint of otherness
The mind itself is medusas domain
Shock of knowledge
Filmic water
Amniotic umbilical echoes
Conception at the cellular level
Conceived / conceived