Presence in the Pause: Interiority and its Radical Immanence
Presence in the Pause: Interiority and its Radical Immanence focuses on the complexity of our everyday relationships through portraits and domestic scenes that examine personhood, memories, and the speeding up and slowing down of contemporary life. Artists are often known to be solitary creatures and their practice dictates long periods spent alone with their materials, thoughts and research, memories, and futures. Harmonizing these aspects together through painting, this exhibition highlights a group of artists who examine and celebrate ideas around interiority through their unique viewpoints, whether by means of domestic spaces filled with memories, inner monologues that flit between past, present, and future, or the visual expression of emotion. What happens when the space of the canvas allows for both subtle and radical interpretations of reality?
Specifically, Presence in the Pause spotlights a group of women and non-binary artists born between 1975-1985, who collectively uncover and chronicle the intimate and immanent aspects of daily life, spotlighting interiority as not only personal but political. In revealing the presence of daily challenges, memories, and the wants and needs of our bodies, the works touch upon what we continue to yearn for–personal growth, fulfillment, and space to be ourselves and be with ourselves. By simultaneously embracing and shattering the gendered expectations thrust upon them, the artists highlight how, in the sometimes mundaneness of everyday life, domesticity, identity, and memory collide together to create an all-encompassing radical immanence.
Artists include Mequitta Ahuja, Lilli Carré, Andrea Joyce Heimer, Kyoko Idetsu, Kathy Liao, Danielle McKinney, Maia Cruz Palileo, Molly Prentiss, Preetika Rajgariah, Celeste Rapone, and Becky Suss.
Danielle McKinney, Twilight, 2021. Acrylic on canvas, 14 x 11 inches. © Danielle McKinney, courtesy of the artist, Night Gallery, Los Angeles, and Marianne Boesky Gallery, New York. Photo: Pierre Le Hors.
Lilli Carre, Glazing, 2021. Video still. Courtesy of the artist.
Becky Suss, 8 Greenwood Place (1997-99), 2022. Oil on canvas, 72 x 84 x 1.5 inches. Photo courtesy of Beth Rudin DeWoody.
Celeste Rapone, Living Room, 2022. Oil on canvas, 66 x 52 1/8 inches. Photo courtesy of the artist.
Maia Cruz Palileo, All the crossed out, 2021. Oil on panel, 10 x 8 inches. Photo courtesy of the artist, Monique Meloche Gallery, and the Collection of David and Pamela Hornik.
Kathy Liao, Fortune Telling, 2020. Oil on canvas, 64 x 56 inches. Photo courtesy of the artist.
Andrea Heimer, Little Earthquakes In Montana Vibrate The Soles Of Your Feet, Like You’ve Stepped On A Nest Of Bees. A Tiny Hum. Their Small Presence Made Me Know A Bigger Earthquake Was Always Possible. Inevitable Even. When I Learned I Was Adopted A Big Earthquake Happened In Me. A Seismic Shift, A Change. Because There Was A Before And After, Which I Guess Can Be Said About Anything Knowable That Was First Not Known. It’s Not That There Weren’t Signs. Little Vibrations. Tiny Hums Under My Feet, 2021. Acrylic and oil pastel on panel, 40 x 60 inches. Courtesy of the Michael Indenbaum Collection. Photo courtesy of Nino Mier Gallery and Andrea Joyce Heimer Studio.
Mequitta Ahuja, Ancestor, 2022. Oil on canvas, 80 x 84 inches. Photo courtesy of the artist.
Presence in the Pause: Interiority and its Radical Immanence, is supported by:
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