Functional Misrepresentations Reception

Since 1999, InLiquid has been the essential source for visual arts in our region. Serving artists, art professionals, and the public at large with innovative programs both online and in the community, InLiquid plays a central role as a hub, unifier, and promoter of Philadelphia’s vibrant visual arts scene.VISITWWW.INLIQUID.ORG

INLIQUID

Please join us on October 19th at Park Towne Place for an opening reception in the North, West, and South tower galleries.

Park Towne Place

The opening reception will begin in the North Tower, and then move to the West Tower, and then to the South Tower. Each tower will offer an opportunity to hear short remarks from the included artist or curator, and a chance to mingle. Refreshments and hors d'oeuvres will be served. We look forward to seeing you at this next installment of art at Park Towne Place!Functional Misrepresentations highlights the work of six artists whose work uses the shared language of objects to discuss how they can act as vectors of memory; both personal and societal. The included artists,<a href="https://inliquid.org/artist/cartier-leila/" target="_blank" data-msys-clicktrack="0" rel="nofollow noopener noreferrer"> Leila Cartier</a>, <a href="https://inliquid.org/artist/cleaver-randall/" target="_blank" data-msys-clicktrack="0" rel="nofollow noopener noreferrer">Randall Cleaver</a>, <a href="https://inliquid.org/artist/colbert-billy/" target="_blank" data-msys-clicktrack="0" rel="nofollow noopener noreferrer">Billy Colbert</a>, Christina P. Day, <a href="https://inliquid.org/artist/wang-han/" target="_blank" data-msys-clicktrack="0" rel="nofollow noopener noreferrer">Han Wang</a>, and Mallory Weston show how objects can hold onto memories and be reconstructed to tell mythical tales of what was, and what could have been. Christina P. Day mines the memories of interior places through her linoleum collage series. Using salvaged linoleum flooring, Day painstakingly cuts out the patterns, layering and manipulating them as a way of honoring and preserving them. Also using salvaged materials, Randall Cleaver’s assemblages utilize components that span his lifetime- an old tractor light from a yard sale in Maryland, a children's bicycle rescued from the trash, and bottle caps collected over forty years, all nod to the memories of fleeting moments and places. Han Wang’s Across the Ocean Project weaves together the memory of culturally significant foods, forms, and patterns with more darkly complex reverberations of cultural appropriation. The blue patterns, caught between the authentic and Delftware reinterpretations, are undeniably beautiful as they revel in their hybridity. Also hybridizing cultures is Billy Colbert, in his work he combines a love of skateboarding in his American youth with the (often) unsung contributors of our human culture. But what of worlds imagined, mythical, and fantastical? The unusual references Mallory Weston makes with her jewelry- a threatening snake, an oozing wound, a barbed cacti- offer an opportunity for escapism. They allow the wearer to amass and adorn themselves with the tokens that best represent their internal worlds on any given day. Also focusing on escapism through jewelry is Leila Cartier whose large scale collages made up of hand-cut images of jewelry from magazines give us a glimpse into a beauty that obscures hidden dangers, excess, and the disparity between expectations and reality.Objects we encounter can lose their meaning, becoming merely another thread in our daily tapestries. But in the hands of the artists of Functional Misrepresentations, once familiar objects are elevated to take on new meanings that challenge us to consider the ways in which we take what seems to be true for granted.

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Functional Misrepresentations Reception

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Functional Misrepresentations Reception

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