On Arrival: Pooh Kaye and Cara Wood-Ginder
On Arrival will open on Friday, November 3, 5-7pm in the Village Hall Ballroom. The Glimmerglass Film Days Opening Night Party will be hosted in the gallery Thursday, November 9, 7:30-9:15PM. The exhibition is open daily 11-4pm, Sunday 1-4pm, Closed on Tuesdays
There is a cultural understanding of life in the country that goes something like this: the pace is just slower, there are fewer distractions, there is less going on, less to do, the people are simpler. Then there is the place where this dream meets reality and all the expectations give way to something else. Somewhere between the dream, the love for a place, the daily reality, and ridiculous frustrations of maintenance is the place we call home. The show’s curators, Sydney Waller, gallerist, and Megan Irving, artist, have their own experiences of home around the world so to complement Glimmerglass Film Days 2017 theme of Home, they chose two artists whose work explores this line where home of the imagination hits up against the reality and defines home as we experience it.
Pooh Kaye’s work in dance and video deals with the physical body and its limitations and expressions in a way we can all relate to. In her videos a character is subjected to forces beyond its control symbolized by the cinematic medium of stop-motion: visual effects are created by juxtaposing still images that, when viewed in sequence, appear to be moving. By placing the human body in environments—in this case the rural landscape of a backyard—and subjecting it to unusual interactions with the environment she can combine choreography with visual arts to express the feeling of that body to the audience. Her video’s characters struggle with the domesticated landscape while her portraits of the forest show something more peaceful, aspirational, and tenderly bonded to the location. Which one is home? It’s somewhere in between. Ms. Kaye’s work has recently been profiled in Art in America, Art Forum.
Cara Wood-Ginder’s elegant paintings on wood feature everyday objects, icon-like in their treatment and floating on a black field. The objects are ubiquitous to country living and range from a kerosene lantern or copper kettle to one’s essential home fix-it roll of duct tape. Each is anchored by enigmatic markings in the corner of the painting. In contrast to the realistically-rendered rural life objects, these schematic diagrams suggest engineering or perhaps mad science, and add texture and complexity to each work. Cara Wood-Ginder showed with OK Harris, New York, NY through 2010.