2015 Festival ←

Ève K. Tremblay, Brea Souders, Maegan Hill-Carroll Makeshift

Gallery 44 Centre for Contemporary Photography
Brea Souders, Teeth and Shell, 2012. © Brea Souders, courtesy of Bruce Silverstein Gallery, NY.
Brea Souders, Teeth and Shell, 2012. © Brea Souders, courtesy of Bruce Silverstein Gallery, NY.
Magean Hill-Carroll, Was thinking Ectoplasm when I found what I thought was a diamond in an LA parkade, 2014. Courtesy of the artist.
Magean Hill-Carroll, Was thinking Ectoplasm when I found what I thought was a diamond in an LA parkade, 2014. Courtesy of the artist.
Ève K. Tremblay, Clair Obscur dans l’atelier de mon père #2 (prisme et rideau de douche), 2013. Courtesy of the artist.
Ève K. Tremblay, Clair Obscur dans l’atelier de mon père #2 (prisme et rideau de douche), 2013. Courtesy of the artist.
Maegan Hill-Carroll, Unexpected Light, 2014. Courtesy of the artist.
Maegan Hill-Carroll, Unexpected Light, 2014. Courtesy of the artist.
Brea Souders, Film Electric #9, 2012. © Brea Souders, courtesy of Bruce Silverstein Gallery, NY
Brea Souders, Film Electric #9, 2012. © Brea Souders, courtesy of Bruce Silverstein Gallery, NY

Makeshift ventures inside the studio and sites of production, turning outward these layered spaces of making. Brea Souders and Maegan Hill-Carroll call upon studio vestiges and the remnants of personal archives in much of their ongoing photographic experiments. In her series Unexpected Light, Hill-Carroll constructs the byproducts of her practice into compositions that at times reference traditional studio photography and at others seem to evoke the sci-fi. Reflective foil and rags used to clean out a clogged inkjet printer, trinkets collected from various travels, and a once forgotten series of images, are intuitively combined into curious assemblages. Souder’s series Film Electric similarly makes use of a decade’s worth of mechanical errors and failed experiments. Exploiting a process she discovered while cleaning up her studio, Souder’s uses static to momentarily produce gravity defying sculptures of her cut-up filmstrips. Her chance-based arrangements of disposable debris are paired with a series of images produced while working out of a temporary studio in her childhood home. The familial is also central in Ève K. Tremblay’s series Clair Obscur dans l’atelier de mon père, which recreates the objects of her father Alain-Marie Tremblay’s studio in Val-David, Québec. The chiaruscuro style images focus in on the markings of the worn space and a series of ceramic-sculptures made in clay and betonique – clay concrete invented by Alain-Marie in the 1980s. Revealing her continued interest in process, the images are combined with hand-molded clay sculptures into which Tremblay impresses photographs of her father’s workplace. Together, the works in this exhibition turn photography in on itself, implicating the medium as both a memory aid and raw material.

Co-presented with Gallery 44

 

Curated by Noa Bronstein

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