To Spread a Table Fuller, Miranda Kuo Gallery, July 2017
“Work goes into a body, happens on a body. The reality that others can take me up with such ease indicates a certain gravity to my body that I am forced to reckon with.”
“I drink my 한의학. I imagine the sourness dampening the lining of the gastric mucosa and breaking up that year’s build up of white toxicity. Why is that my identity is hinged on immiscibility, like oil and water never assimilating?”
“CLICK…CLICK… I hold you in my hand. I fumble and mend only to bend over and have to do it again.”
Jaclyn Jaconetta (b. 1993) is a Brooklyn based artist working with found imagery to question naturalized ideas of gender and the disembodiment of labor. She investigates invisible labor - both within the highly constructed yet seemingly magical user-interface systems and digital spaces, and in the transcendent status attained by commodities when the labor of their making is unapparent.
Tiffany Jaeyeon Shin (b. 1993) is a Canadian-Korean-American artist interested in deconstructing colonialized bodies and the inherited legacy of orientalism in America. Shin uses Taoist indigenous knowledge to explore the porousness of bodily boundaries and the ceaseless movement of living processes, like fermentation, echoing the history of colonialism. Shin is interested in entangling the history of conquest and the literal digestion of material - herbs, medicine, and food - into a new system of relations that emerge from a complicated history of entanglement.
Alexandra Wilson (b.1993) is a New York-based artist. From her perspective as a clothing maker, she unfolds and explores facets of gendered labor within the domestic sphere. Intrigued by workspace tools such as the iron, she scrutinizes these everyday objects and shines light on them, their shapes, their dimensions and their historical context.
Three womxn artists confront the systemic erasure of gendered and racialized bodies within an infinite cycle of marketing exchange, domestic services, and cultural imperialism. Through the continuous erasure of the human experience, context of production labor, and cultural legacy, the collector is able to exclude the body in the agency of representation. The bodies-made-objects are then reduced to a replica, stereotype, or an artifact, detaining the body as a ghost in the uncanny valley. During the exhibition, three artists organize programming - workshops, roundtable discussion, writing, and video screening - to highlight bodies and perspectives that often face erasure or are detained in the uncanny valley.
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Photo credit: Mark Edwards