Rodrigo Zamora, Sarah Lee, Sadie Woods
@ The Mission
1431 W Chicago Ave, Chicago, Illinois 60642
Opening Friday, June 23rd, from 6PM - 8PM
Rodrigo Zamora – End of Daylight: THE MISSION
Sarah Lee – Unoriginal sublime, THE MISSION (In THE OFFICE)
Sadie Woods – A Study in Rhyme & Song, THE SUB-MISSION
June 23 – August 5, 2017
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Rodrigo Zamora
In his exhibition “End of Daylight”, Rodrigo Zamora presents paintings that transform objects into amorphous anatomies, challenging memory and perception, specifically within the context of our relationship to our urban surroundings. As a pedestrian, Zamora takes photographs of neglected weeds, littered refuse, cloudy waterways, and tangles of cables. The subject matter often unnoticed and considered unwanted within our metropolitan scenery is given vitality in his exhibition. In Zamora’s “Absence of Sound” series, he strips away the object’s context leaving unkempt, overgrown weeds situated within a conglomeration of adhered squares.
Sarah Lee
Sarah Lee is fascinated with the uncanny atmosphere of virtual reality and the aesthetics of a digitally constructed image. In her paintings, Lee employs elements of artificiality–extreme smoothness, unnatural coloring, and homogeneity of surface detail. Although the surfaces she renders are not plausible worlds, they seductive–and more importantly–they are believable.
Sadie Woods
Sadie Woods grew up Afro-Latina in Chicago during the takeoff of hip-hop, electro, and the proliferation of musical styles that matched the multiple subcultural and counter-cultural identity movements, which has been a vehicle for Woods’ re-examination of celebrated voices in pop culture. Coded in music are the affects, aspirations, and struggles of cultural experiences. Deejaying has been a culminating point between taste-making and space-making—connecting songs to cultural and personal currents and memory. While deejaying is democratic and collaborative, it has tremendous possibilities to engage social and political spheres through sound and performance. Woods’ practice attempts to zero-in on “anthems” and “mantras” that can be excavated to take on socio-political proportions and become a call to arms for listeners to remember times of resistance.
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