February 1 – May 31, 2017
BUST GALLERY’s fourth season introduces new and recent works by a global mix of artists: painter Irene Pouliassi, photographers Alyssa Salomon and Abbey Lee Sarver and filmmaker Hope Tucker share intimate, individual works in a 3”x4” plastic Badge Holder located slightly above the curator’s breast.
The works by this season’s four artists address in unique and surprising ways human engagement in the natural world – our fears, follies and triumphs. Concerned with beauty and our mutual vulnerability, these images urge us to consider the what we leave behind as we interact with the natural world.
Spina series, Irene Pouliassi
Featured in February 2017, Richmond, VA-based artist Alyssa Salomon’s vibrant portrait, Love Among the Chickens confronts our non-human allies and makes a bid for optimism as we face “contemporary anxieties, conflict, and destruction,” in the artist’s words. In March, Corfu, Greece native Irene Pouliassi’s watercolor Osteotopia conjures the uncanny delicacy and strength of our material existence. American media artist Hope Tucker, currently based in Belgium, contributes Atomkraftwerk Zwentendorf (excerpt from an Obituary for a Nuclear Power plant), in April 2017. Part of Tucker’s ongoing The Obituary Project, Atomkraftwerk Zwentendorf is a still image from a project that retraces the path of protest that closed the only nuclear power plant in Austria. Abbey Lee Sarver’s mining and mashing of the digi-sphere yields, from Los Angeles, a sculptural, color print on metal entitled Quicksand, Scene I – a vision of surrender or survival?
BUST GALLERY invites viewers to rethink how, when and where we encounter contemporary art; it is about human scale art in an age of selfies and surveillance. The space disrupts the bureaucratic function of the 3″ x 4″ plastic Badge Holder, engaging the public (in)visibility of the aging female body and challenging conventions of exhibition and spectatorship. Works presented at BUST GALLERY are documented daily while on view at official functions related to the curator’s position at Virginia Commonwealth University, and when seen indirectly by ATM, convenience store cameras, and other instruments of daily surveillance.