Crossing The Blue Hour

On view by appointment from July 6 to July 21, 201.
Opening Reception, Thursday, July 6
6:00-9:00 pm
with music performance at 8:00 pm by Polyorchard
Crossing The Blue Hour, by Peter Francis Barnett and Shane C. Smith
it’s a moment (?)…
It occurs over the course of a few seconds… a vivid recollection of a night in a room… she’s on the foot of the bed talking, her hands clasped together in front of her.  In the window behind her, a red neon sign.
Guest Room is pleased to present a new photographic series by Peter Francis Barnett and new mixed-media sculptures and paintings by Shane C. Smith.
The Blue Hour is a series of six photographs inspired by the visual aesthetic of David Lynch’s 1986 drama Blue Velvet and specifically by the character Dorothy Vallens.
-Peter Francis Barnett

The Blue Hour (Blue Lady No. 2), Peter Francis Barnett

The Blue Hour (Blue Lady No. 2), Peter Francis Barnett
1983.jpg
1983, Shane C. Smith
Crossing, is a real noir, the ghost of Sarah Fox, whose body was found in Inwood Hill Park, the woods I walk in daily. Born in 1983, she is my age, now gone; I walk the same paths through the yellow tulip trees.
-Shane C. Smith
 
Peter Francis Barnett is a photographer and multimedia artist exploring the “constructed image” and its function in contemporary culture.  He has shown work in New York, Los Angeles and Prague.
Shane C. Smith’s venues circle between unsanctioned performance spaces and curated museum exhibitions. Exhibitions and performance venues include the Institute of Contemporary Art, Maine College of Art, Portland Maine; the John and June Allcott Gallery, UNC; Ackland Museum, UNC; DAC Gallery, Los Angeles; and the American Museum of Natural History, NYC.
 
All images are subject to copyright. Gallery approval must be granted prior to reproduction.
Please join the conversation with Guest Room on Facebook (link), and Instagram (link), via the hashtags #ShaneCSmith #PeterFrancisBarnett and #Guestroom

Ben Elliot Water

On view by appointment from May 26 – June 11, 2017.
Read the interview.

bottle-1000x1500

Guest Room presents a solo show by Ben Elliot, the next step of the artist’s project Ben Elliot Water.
In March 2017, Elliot launched his own water bottle as a long term and multiform artwork. Through a bottle, campaign pictures, video and viral contents, it epitomizes several interests of our contemporary contexts such as self-branding, high speed media channels and posthumanism. This installation at Guest Room is the latest embodiment of the project thought as a mise en abyme where the artwork is an ad advertising the project, and where Elliot continues to build his image as an overall work and network of informations and ideas epitomizing ongoing and future systems and values.
Ben Elliot Water is made possible thanks to the support of 20YRS, Andy Berner, Louise Briskmann, Paul Duchemin, Samy Ghiyati, Sacha Guedj-Cohen, Lorandy, Charles Negre, Lily Taïeb and Voda Voda.

Ben_Elliot_Water_Inside_Close.jpg

Ben_Elliot_Water_Daytime_Exterior.jpg

 

MATERIA: A temporal collaboration at three atypical sites

17545282_2207689512790032_352906768398865579_o.jpg

On view on Friday, March 31, 2017 from 6:00 – 8:00 pm and on Saturday, April 1, 2017 from 2:00 – 5:00 pm.
MATERIA_group
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.

17455017_672305962922_1404810622_o

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

indy.JPG

King of the Cockroaches

King_of_the_Cockroaches

On view by appointment from Sunday, April 23 to May 19, 2017. Installation photos here.
Opening Sunday, April 23, 2017
6:30 pm – 9:30 pm
Closing Reception, Friday, May 19, 2017
6:00 pm – 9:00 pm with music by Charles Latham and Ben Riseling (of the Wigg Report). A review of Latham’s recently released album here.
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.”

Carley Zarzeka

16300396_2162511017307882_4339187601453961224_o.jpg
 On view by appointment from February 5 – March 5, 2017.
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.

zarzeka_pano.JPG

zarzeka_1.JPG

#colouredpostcardshare

#colouredpostcardshare with ohmzutt and gnushu
On view by appointment from December 11, 2016 to January 8, 2017.
Opening Sunday, December 11, 2016
2:00 pm – 6:00 pm with music by Cyanotype at 4:00 pm
colouredpostcardshare_outsideview.jpg

tumblr_obft0f3uzk1ufu93zo1_1280

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)

Right_to_Work.JPG

On view by appointment from November 8 to December 8, 2016.
“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.