Foundwork Guest Curator: Storm Ascher
Deborah Joyce Holman
b. 1991, Basel, Switzerland. Lives and works in London, UK. 2018 BA, Haute Ecole d'Art et Design de Genève, Geneva, Switzerland.
"Deborah Joyce Holman’s interest in the absence of the Black body, or refusal of participation, interests me. How do we visualize not wanting to be seen, or wanting to be seen for something other than what is expected of us in a post-colonial, post-digital framework? I think of Legacy Russell’s book, Glitch Feminism, which explores the idea of a glitch being not an error, but instead an opportunity for liberation from social norms and rigid concepts of identity. Holman exemplifies non-participation as justice reform through the redaction of visuals and language that are co-opted time and time again."
Artwork Image: Untitled (for scale), 2021. Bitumen paint on cardboard, steel.
Natalia Villanueva Linares
b. Montpellier, France. Lives and works in Chicago, IL. 2010, DNSAP, Ecole Nationale Supérieure de Beaux Arts, Paris, France. 2008, DNAP, Ecole Nationale Supérieure de Beaux Arts, Diplôme National d’Arts Plastiques, Paris, France.
"Natalia Villanueva Linares understands the power of repetition and multiples, while also conveying a personal narrative. I think of Aristotle’s concept, horror vacui, which is a fear of empty space in art, and the need to fill every crevice with visual information. Linares transmutes found objects and the mundane from life, participates in a destructive process in order to rebuild, and categorizes them aesthetically by color or form. The result is a shrine-like ode to the objects’ purpose, to be appreciated in a new artistic form. Linares says, “I disappear into the repetition and effort, inviting others to feel the magnitude of their generosity.”
Artwork Image: Desmedida, 2018. Used clothing patterns Straight pins. 16 x 45 ft.
Darryl DeAngelo Terrell
b. 1991, lives and works in Detroit, MI. 2017 MFA, School of the Art Institute of Chicago, Chicago, IL. 2015 BFA, Wayne State University, Detroit, MI.
"Darryl DeAngelo Terrell wants everyone to feel seen. By delving into an aspect of Blackness and fully exploring it—in this case, a queer, hyper-femme alter-ego, Dion—Terrell makes an argument for a collective Black experience: the Black woman is Blackness. Mickalene Thomas and Deana Lawson come to mind in regard to Terrell’s ability to use their medium of photography to merge portraiture and still life out of the many accessories that adorn the Black body to convey gender—reclaiming the colonial scientific or photojournalistic approach to Hottentot."
Artwork Image: I Look Like My Momma (Self-portrait 1980), 2019. Digital Ink Jet Print. 24 x 36 in.
