THROUGH A GLASS, DARKLY

Curated by Katharine Kostyál
07.07.2022 — 16.10.2022
  • AMANDA BALDWIN
  • HYEGYEONG CHOI
  • MAGGIE ELLIS
  • MIA FAITHFULL
  • DANIELLE DE JESUS
  • JI  WOO KIM
  • SARAH LEE
  • TALIA LEVITT
  • KARYN LYONS
  • JO MESSER
  • GIULIA MESSINA
  • HAEJI MIN
  • MAÏA RÉGIS
  • SAMANTHA  ROSENWALD
  • BRITTNEY LEEANNE WILLIAMS
  • SUN WOO
  • GUIMI YOU
Brittney Leeanne Williams, Reach, 2021, Oil on Canvas, 48h × 110w in. (121.92h × 279.40w cm)
Brittney Leeanne Williams, Reach, 2021, Oil on Canvas, 48h × 110w in. (121.92h × 279.40w cm)
(left) Brittney Leeanne Williams, Reach, 2021, Oil on Canvas, 48h × 110w in. (121.92h × 279.40w cm); (centre) Talia Levitt, Work, 2022, Acrylic on canvas, 72h × 48w in. (182.88h × 121.92w cm); (right) Ji Woo Kim, Trust That We Will Find Ourselves, 2022, Oil on canvas, 30h × 40w × 1.50d in. (76.20h × 101.60w × 3.81d cm)
(left) Talia Levitt, Work, 2022, Acrylic on canvas, 72h × 48w in. (182.88h × 121.92w cm); (right) Ji Woo Kim, Trust That We Will Find Ourselves, 2022, Oil on canvas, 30h × 40w × 1.50d in. (76.20h × 101.60w × 3.81d cm)
(left) Maïa Régis, Lobster and Mosquitos, 2022, Acrylic on canvas, 78.74h × 62.99w in. (200h × 160w cm); (right) Sarah Lee, Before the Storm, 2022, Oil on canvas, 55h × 50w × 1.50d in. (139.70h × 127w × 3.81d cm)
(right) Maggie Ellis, Double Vision, 2022, Oil on linen, 45h × 35w in. (114.30h × 88.90w cm); (left) HyeGyeong Choi, Jungle Fairies, 2022, Acrylic on canvas, 72h × 68w in. (182.88h × 172.72w cm)
HyeGyeong Choi, Jungle Fairies, 2022, Acrylic on canvas, 72h × 68w in. (182.88h × 172.72w cm)
(right) Mia Faithfull, Snapchat girl (Panda), 2022, Oil on linen, 43.31h × 29.53w in. (110h × 75w cm); (centre) Sun Woo, No-landing Flight, 2022, Acrylic on canvas, 57.09h × 44.49w × 1.18d in. (145h × 113w × 3d cm); (left) Mia Faithfull, Snapchat girl (Pink), 2022, Oil on linen, 43.31h × 29.53w in. (110h × 75w cm)
(left) Brittney Leeanne Williams, One Pleads and One Appeals, 2022, Oil on Canvas, 36h × 80w in. (91.44h × 203.20w cm); (right) Sun Woo, No-landing Flight, 2022, Acrylic on canvas, 57.09h × 44.49w × 1.18d in. (145h × 113w × 3d cm)
(left) Brittney Leeanne Williams, One Pleads and One Appeals, 2022, Oil on Canvas, 36h × 80w in. (91.44h × 203.20w cm); (centre) Sun Woo, No-landing Flight, 2022, Acrylic on canvas, 57.09h × 44.49w × 1.18d in. (145h × 113w × 3d cm); (right) Amanda Baldwin, Blue Moon, 2022, Oil on Canvas, 63h × 50w in. (160.02h × 127w cm)
(left) Karyn Lyons, Nike, 2022, Oil on canvas, 60h × 44w × 1d in. (152.40h × 111.76w × 2.54d cm); (right) Sun Woo, The Trip, 2022, Acrylic on canvas, 57.09h × 44.49w × 1.18d in. (145h × 113w × 3d cm)
Karyn Lyons, The Stare, 2022, Oil on linen, 20h × 24.25w × 1d in. (50.80h × 61.59w × 2.54d cm)
Karyn Lyons, The Stare, 2022, Oil on linen, 20h × 24.25w × 1d in. (50.80h × 61.59w × 2.54d cm)
(left) Karyn Lyons, Nike, 2022, Oil on canvas, 60h × 44w × 1d in. (152.40h × 111.76w × 2.54d cm); (centre) Guimi You, After The Rain, 2022, Oil on linen, 51.30h × 38.27w in. (130.30h × 97.20w cm); (right) Guimi You, Sun and Moon, 2022, Oil on linen, 23.90h × 19.69w in. (60.70h × 50w cm)
Karyn Lyons, Nike, 2022, Oil on canvas, 60h × 44w × 1d in. (152.40h × 111.76w × 2.54d cm)
Karyn Lyons, Nike, 2022, Oil on canvas, 60h × 44w × 1d in. (152.40h × 111.76w × 2.54d cm)
(left) Guimi You, After The Rain, 2022, Oil on linen, 51.30h × 38.27w in. (130.30h × 97.20w cm); (right) Guimi You, Sun and Moon, 2022, Oil on linen, 23.90h × 19.69w in. (60.70h × 50w cm)
Danielle De Jesus, Don’t Answer If It’s Off The Hook, 2022, Acrylic on vinyl table cloth, 24h × 20w in. (60.96h × 50.80w cm)
(left) Talia Levitt, Broadcast, 2022, Acrylic on canvas, 48h × 72w in. (121.92h × 182.88w cm); (right) Ji Woo Kim, Within a Room, 2022, Oil on polycotton, 48h × 64w × 1d in. (121.92h × 162.56w × 2.54d cm)
Ji Woo Kim, Within a Room, 2022, Oil on polycotton, 48h × 64w × 1d in. (121.92h × 162.56w × 2.54d cm)
(left) HyeGyeong Choi, Enthrallment, 2022, Acrylic on canvas, 36h × 40w in. (91.44h × 101.60w cm); (right) Talia Levitt, Broadcast, 2022, Acrylic on canvas, 48h × 72w in. (121.92h × 182.88w cm)
(left) Giulia Messina, She's The Girl Anachronism, 2022, Alcohol markers on canvasboard, Installed dimensions: 19.69h × 55.12w in. (50h × 140w cm); (right) Jo Messer, One's Self Alone Leans, 2022, Oil on panel, Installed dimensions: 24h × 50w in. (60.96h × 127w cm)
Giulia Messina, She Is The Perfect Fit, 2022, Alcohol markers on canvasboard, Installed dimensions: 19.69h × 55.12w in. (50h × 140w cm)
(right) Haeji Min, Grasping the Ephemeral, 2022, Oil on canvas, 74.41h × 51.57w in. (189h × 131w cm); (left) Ji Woo Kim, Within a Room, 2022, Oil on polycotton, 48h × 64w × 1d in. (121.92h × 162.56w × 2.54d cm)
Haeji Min, Sanctuary, 2022, Oil on canvas, Installed dimensions: 45.28h × 84.25w in. (115h × 214w cm)
(left) Jo Messer, One's Self Alone Leans, 2022, Oil on panel (diptych), 24 × 50 in. (61 × 127 cm); (right) Maggie Ellis, Finance Bros, 2022, ink on paper, 14 × 11 in. (35.5 × 27.9 cm)
(left) Samantha Rosenwald, Just Desserts, 2022, Colored pencil on canvas, 20 × 20 in. (50.8 × 50.8 cm); (right) Samantha Rosenwald, Allegory of Bad Kitchen, 2022, Colored pencil on canvas, 31.9 × 37.8 in. (81 × 96 cm)
(left) Samantha Rosenwald, Allegory of Good Kitchen, 2022, Colored pencil on canvas, 31.9 × 37.8 in. (81 × 96 cm); (centre) Samantha Rosenwald, Just Desserts, 2022, Colored pencil on canvas, 20 × 20 in. (50.8 × 50.8 cm); (right) Samantha Rosenwald, Allegory of Bad Kitchen, 2022, Colored pencil on canvas, 31.9 × 37.8 in. (81 × 96 cm)

Exhibition Text

“For now we see through a glass, darkly; but then face to face: now I know in part; but then shall I know, even as also I am known.” ​Corinthians 1:13​

‘Through a glass, darkly’ takes as its point of departure the invective of St Paul that our earthly vision of the world is necessarily obscured and imperfect and Ingmar Bergman’s 1961 film of the same title, specifically as it relates to its troubled central character Karin, who functions as both object and subject of the drama. ​

The exhibition seeks to cast an unflinching, female and painterly eye on how ideas about the female form, womanhood, and the natural world fare in the frequently messy interface between meatspace and the digital realm, which too often perpetuates a standard fetishization of ‘woman’ and the age-old prejudice that nature is something to be measured and tamed by human exceptionalism.​

– Katharine Kostyál

 

Photo: Emiliano Scatarzi; ©the artist. Courtesy of Carl Kostyál