Neurosis
Curated by Bethelihem Gebresilasie
January 15th - March 15th, 2023
Featuring the work of Yerrie Choo, Cecelia Condit, Seth Cosford, Erica Eyres, Starkey Fossgreen, Simon Floris, Joana Azevedo Rodrigues, Liev Sibilla, Léa Tissot-Laura & Anna Sougy, Amber Tutwiler, and Klara Vertes.
“Neurosis serves as a blanket description for behavior that exists outside the norm of regularity. The term itself begs the question of what is normative, and what exactly lies outside of it?
In artistic expression, neurosis exhibits as contrasts, an orderly disorder, a straddling of contradiction. Neurosis is dysfunctional, but not unbearable. It is living under constraints, though awry.”
—— Bethelihem Gebresilasie
Amber Tutwiler
Body is an unmade bed, 2019.
Oil on canvas, wood, 46 x 100 x 4 in (116.84 x 254 x 10.16 cm).
$7,000 Inquire
“Body is an unmade bed” is part of a larger body of work, "Interface," which began with a single question: how do we view our bodies in digital spaces? When creating this work, I was thinking about how we perform idealized version of our bodies in digital spaces, but in reality, our bodies are like unmade beds: intimate, soft, and sometimes unmanageable. This work thinks about our bodies when they are "off stage.”
Cecelia Condit
Possibly in Michigan, 1983.
Video, 11:45.
$50.00 Inquire
Possibly in Michigan is a contemporary musical fairy tale about cannibalism in middle america. It was created in 1983 by three women. Karen Skladanuy, who played Janice, composed and performed the music and wrote both the lyrics and music for the Animal Cannibal song. Jill Sands played Sharon and was an advisor. Cecila Condit directed, edited, produced, filmed and played Author.
Joana Azevedo Rodrigues
Ebulições II, 2022.
Rust on steel, 16 x 23 in (40 x 58 cm).
$400 Inquire
Ebulição is a transgression of the voyeuristic presence of feminine underwear and the decay of the human condition. Through the acidification of a steel sheet which was prior etched on with a photograph of lace panties, the rust translates to the weakening and disintegration of the exclusively sexualized male-idealogy of the female figure. It's also an exploration of life and death and the following decomposition of culture through the body.
Starkey Fossgreen
First Step (Clumsily), 2022.
Pastel on paper, 11 x 14 in (27.94 x 35.56 cm).
Liev Sibilla
The Moon, 2022.
Air dry clay, acrylic paint, tissue, and found object.
9 x 7 x 8.5 in (22.5 x 17.5 x 21.25 cm).
$750 Inquire
Simon Flores
Junkfood Junkie, 2020.
Video, 1:39.
Junkfood Junkie is a humorous and lighthearted look at stress-eating, and by proxy, neurosis.
Seth Cosford
The Door to Hell, 2022.
Oil on panel, 32 x 32 in (81.28 x 81.28 cm).
$2,800 Inquire
Klara Vertes
Your Final Slipping Place, 2022.
Wired fan cover, ashes, fabric, shattered urn, beer, bandaged speaker, etc.
40 x 25 x 9 in (101 x 63 x 22 cm).
Sorry I dropped it (you were stuck in every fiber like a pile of yolks on the carpet). Only to find the bulk of you in the guard grate of a standing fan. Mounted your sorry newness, leaving you a little grace and me a gritty tongue.
Léa Tissot-Laura and Anna Sougy
Sexy Pigs, 2021.
Video, 5:08.
The two French artists Léa Tissot-Laura and Anna Sougy develop a video project around the relationship to the other, to communities, which unfolds at the limits of on- and offline spaces. The title “My mind is a material I can play with mold like mud chew like gum” illustrates this deployment: the digital, the virtual is a mud that we can shape (like the body). As they meet each other, their characters emancipate themselves from the unique body and strengthen themselves through multiplicity. They become «a self with multiple selves»
E. Jane
Erica Eyres
Anxious Artists, 2017.
HD Video, 18:39.
Seth Cosford
Gray Entity, 2022.
Paper mache, aluminum, plaster, pvc clothes line, plastic string pearls, and acrylic, 20 x 20 x 20 in (50.8 x 50.8 x 50.8 cm).
$300 Inquire
Yerrie Chao
I panicked in vain, 2022.
Acrylic, marker, and ink.
Two panels, 11 x 28 in (27.94 x 71.12 cm).
$500 Inquire