MNEMOSYNE – Mne·mos·y·ne \ni-ˈmä-sə-nē, -zə-\- memory
A memory is what is left when something happens and does not completely unhappen. -Edward de Bono
In a room of silent things, everything whispers as Philadelphia artist, Caitlin McCormack’s solo show Mnemosyne explores the mind’s attempt to reconstruct fragile remnants of memories before they are tainted.
McCormack sets the tone of the show with various cabinets of curiosities – drawers open to reveal slumbering stitches arranged in categorical boundaries yet to be defined, beveled shadow frames. Within this realm, McCormack marries found threads to existing pieces, embracing the melancholy of time overlapping memory in her delicate play of intersecting loops. In the crocheted bones of her discordant creations, lay manifestations of resurrected truths and birthed falsehoods; a balance of beguiling recollections arranged in unnatural juxtapositions.
MNEMOSYNE’s sense of fragility underscores a precious attempt to preserve that which has fallen into Obscura – to present a persistence of memory, as new life is stitched together in the parameters of anamnesis where memories live as beautiful fabrications that belie a beginning and beg off an end. There exists a haunting calm within the delicate wisps trying desperately to be more than retired graces of things they never were. ‡
“It is the second installment in a cycle of exhibitions; an examination of the consequences of my practices, as they pertain to the scrutiny of memory’s authenticity. I am drawn towards a vacuous well of recollection, in which the fibers connecting a network of truths and fabrications fade in and out of darkness, at the bottom of which resides a glimpse of memory’s mass extinction.” – Caitlin McCormack
‡version of this article was originally featured on ParadigmArts.
Mnemosyne is up at Paradigm Gallery until Friday, November 13, 2015.
*Photos courtesy of Jason Chen
There was no polling of art aficionados, no pouring over magazines or newspaper reviews, and there’s definitely no big ballin’ art plays for likability listed below. These shows made the list because I visited them more than once (that rarely ever happens) or my sensibilities were totally confounded by the creativity. Shows that make that kind of impression can provide a year’s worth of conversational tidbits and a measure to which you might hold all others. Aw, enough with that…these shows rocked my 2014.
Spring Break Art Show
It’s fun, fresh, and daring like newly graduated art school minds before they get crushed and compromised. This curator driven show, gets set up in an old schoolhouse during Armory Arts Week in New York. Yes, we know it’s technically an art fair. But the 2014 show, PublicPrivate won us over with installations that we talked up all-year-long.
Kara Walker: A Subtlety or the Marvelous Sugar Baby
Kara Walker’s Installation at the Domino Sugar Factory in Brooklyn was a “homage to the unpaid and overworked Artisans who have refined our sweet tastes from the cane fields to the Kitchens of the New World on the Occasion of the demolition of the Domino Sugar Refining Plant.” The exhibit was mind-blowing – from the overwhelmingly beautiful conceptual execution of the sugar-coated sphinx-like woman, to the very unexpected nauseating smell of burnt sugar permeating the hot factory.
Swoon: Submerged Motherlands
Swoon’s intricate wheat-paste portraits normally grace New York buildings, but for Motherlands she went large-scale, telling landscaped stories against a backdrop of dramatically blue washed walls in the Brooklyn Museum rotunda. The star of the show was the massive sculptural tree that nearly kissed the rotunda’s 72 foot high glass domed ceiling.
David Lynch: The Unified Field
Lynch’s grime aesthetics found solace at Pennsylvania Academy of the Fine Arts in Philadelphia (PAFA), where he studied as an advanced painting student in 1967. The exhibit explored Lynch’s hybrid collection of works, displaying a delicate balance from disturbing narratives to richly descriptive lithographs. Unified Field is his world of opposites that he wanders in and out of at will.
Interhaven: The Works of Caitlin McCormack
McCormack’s sorted things in shadowboxes lay posed and gracefully still as if they once knew air – their layers of articulated overlapping crocheted beige string bones resembled the things they never were. The show’s curio layout carried a pleasantly haunting tone, but it was the lingering of McCormack’s stored memories seen through these tangible manifestations of contained dreams and nightmares that left me feeling domed under her bell jars.
*thank you to paperclips215 & Paradigm Gallery for the use of their Instagram Photos