Overturn the Artifice
50 in the Crib
SOMArts Cultural Center presents Overturn the Artifice, a group exhibition March 8--29, 2013, curated by one of SOMArts' 2012--13 Commons Curatorial Residency recipients, Jack Leamy. Locally, nationally and internationally-recognized fine artists working in painting, installation, time-based media and performance strive to re-enfranchise the individual—politically, economically and socially—while transcending and transforming historically brutal narratives of nationalism, racism, genocide, misogyny, capitalism and conformity.
Queegueg is a shamanistic trance dance using throat singing as a means to go deeper into the meditative prayerful state. This piece occurred spontaneously yet in conjunction with a larger project at the Chapel of the Chimes, a columbarium/mortuary in Oakland, CA. To be in that enclosure with urns filled with ashes brought on a state of catharsis and compassion, because for the sensitive, the souls therein were consciously felt as presence in a void. Choosing the name Queegueg allows me to contact a larger discourse of race, solidarity and salvation.
Tunnel Project Sketch, Jack Leamy, Jefferson Pinder
Simply put, this is a dynamic run through a famous one lane tunnel outside of SF. The piece explores assimilation, humor and a dynamic urge to get through the otherside. Incorporating elements from both Jefferson Pinder's and Jack Leamy's artistic practices, this hybrid is a fierce collaboration that explores mythology and visual tropes. The original soundtrack was composed by Scott Mallory.
The first project presented is a video titled Image Maker. This video explores creativity and the different aspects of its process - inspiration, fear, desire, tools, medium, skill, spiritual search and approval seeking. Myth and myth-making, being seminal attributes of the man/animal creature (Image Maker), is the metaphysical nexus where, using Bigfoot as metaphor for God/Nature, Real/Unreal, True/False, Known/Unknown, is a means to get at identity. Creature, creator, culture, technology... memory, art, artifice, and artifact are all tied into this DaDa-esque revery which questions at the primeval missing link level; what came first, Bigfoot or the gorilla suit?
To Be Or Not To Be, Now
To Be or Not To Be, Now? is a performance piece that uses the sublime soliloquy from Shakespeare's Hamlet (thus, the title) as an interrogative tool, whose aim is to take an ontological spade to studio practice and the history of Western painting. As a performance, the action is inspired by childlike humor and innocence and not by derivative irony. In the context of this project, biography is cultural and not personal. Hamlet, as a device, is used to humanize art and elevate the individual towards a more liberated, empathetic, and higher consciousness to understand painting as a primarily spiritual event.