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| Left, Tracey Goodman, There is a long time in me between knowing and telling (Grace Paley) (detail), 2013, Chewing gum, table, found objects, plaster, joint compound and local plant material, Dimensions variable & Valerie Snobeck, 02.01.2013, Miami, Florida U.S., Site Visit to Locust Projects,View of the parking lot from the garage door of the project room |
Last night, Saturday May 11, 2013 at 7PM, The Project Room at Locust Projects in the Design District inaugurated "Out of Place," an exhibition by Brooklyn-based artist Tracey Goodman and New York-based artist Valerie Snobeck.
Curated by the Assistant Curator of the Drawing Center in New York, Joanna Kleinberg Romanow, the two-person show on view through June 19th, 2013 features site-specific installations in which the artists used the spatial distribution of Locust's Project Room to create an environment that present the fundamental nature of knowledge, reality and existence as patterns about how we face or see the the world.
Both artists draw inspiration from what they see in Miami inquiring into the relationships between the edifices, colors, and vistas where location becomes a site of habitation as well as of existence.
Snobeck, 33, has looked into Miami's oceanfront that in many times is filled with out- of- place and mainly plastic litter that remains accumulated in our shorelines. And it's the thin plastic that the artist delicately peels off from photographic prints to make the handmade paper for her abstraction entitled "En Femme 7."
On the other hand, Goodman, 43, develops a personal narrative for this exhibition in response to the waste or trash she encounters everyday making casts or imprints of her surroundings. For her Out of Place interpretation, she cuts a window-sized hole directly into the project room's wall embedding native tropical flowers and fruits.
Through her daily strolls around the Design District, she discovered a number of overgrown wild plants spread out in residential backyards. For Goodman, it felt like an extension of a domestic dwelling, which she captures in the playful embedding of lush greenery defining the gallery's space, but also eating away at it.
There is a poetics to this sculptural reversal: to conceal is to reveal, and the border between inside and outside comes undone.
"The fragments left from specific events or experiences tell us about who we are and where we come from," said Goodman.