July 14th – July 20th, 2023
Reception for the Artists on Friday, July 14th from 6 to 8 pm
Artists participating: Billy Chen, Guy Gabrowsky, Luigi Lagulli, Luca Imperatori, Jonah Siegel and Keke Yang
Keke Yang is a conceptual artist working with photography, video, sculpture, as well as performance. After completing her undergraduate studies at the University of Washington, where she earned a Bachelor of Arts in Photo media, Yang continued her education and is currently pursuing an MFA in Photography at Parsons School of Design in New York.
Yang’s work delves into the exploration of gender fluidity, the coexistence of human will and social norms, and the transformative power of confluence.
With the strong focus on the symbiotic relationship between diverse identities, Yang’s art explores the interconnectedness of different expressions and experiences. Her installations, utilizing everyday materials like plastic bags, represent the transient nature and the potential for transformation.
97” x27” x27”
Guy Grabowsky is a Melbourne, Australia based artist whose interests stem from post- conceptual photography and post-modernism. Grabowsky graduated with a Bachelor of Fine Arts at the Victorian College of the Arts, University of Melbourne; Melbourne, Australia (2017) and BA Fine Art Honours (2018). Grabowsky is currently completing a MFA, Photography Major at Parsons School of Design | The New School; New York City (2022-2024).
Grabowsky utilizes a hybrid and expanded field of photography and image making — playing with the conventions and expectations of photography by using unconventional processes and framings in his practice. This body of work comprise ‘photographic surfaces’ encompassing semiotic assemblage, adjacent with sculptures comprising an application of drawing in the form of charcoal rubbing, material layering and mark-making. These works are created with a combination of digital dematerialization via the scanner following a re-materialization as a printed image, intersecting with a physical layering of other materiality onto the printed surface. Here, the process of image construction is a fundamental element of Grabowsky’s work. His conceptual framework stems from a self-referential exploration, asking/posing three questions: What is a photograph? What is an image? What is our relationship to these constructs? Interrogating notions of image mass-production, circulation and destruction, to the banal forensic industrial surfaces and architecture in which these images reside. Grabowsky’s fascination with concerns such as these are what drive his practice. Each work invites the viewer to look objectively from a distance and subjectively magnify onto the gestures obstructing the surface.
charcoal, masking tape and acrylic on inkjet photographic print. 40 x 60”
charcoal, cotton fabric, plastic. 11”x 3”x 10.5”
steel, charcoal, masking tape, oil pastil, adhesive tape. 2”x 59.5”x 2.5”
Luigi Iagulli (born in Montreal, Canada. 1997) where he completed a Bachelor of Fine Arts in Photography at Concordia University. Luigi is currently completing an Master of Fine Art, Photography Major at Parsons School of Design | The New School, located in New York City.
Iagulli is an interdisciplinary artist who’s approach involves an examination of memory, space, identity, and gender, with a specific focus on the male narrative. He navigates the spectrum of masculinity, ranging from hyper-masculine tropes to vulnerable expressions of manhood. Through this exploration, Iagulli challenges and questions the prevailing ideals and expectations imposed on men by both themselves and society at large. By delving into topics such as the body, banality, and everyday routines, he provoke conversations about the current state of masculinity and its societal implications. Direction and staging play a significant role in his work, as it creates a space between the subject and the artist, allowing for a nuanced investigation of desire and the sublimation of projected meanings within the objects/material he creates and uses. This work is an ongoing discussion that prompts questions such as why we are compelled to look, who the intended audience of the work is, and what projections and assumptions are being made in relation to the artwork and vice versa.
Luca Imperatori (born in New York City, USA, 2000) is a multi-disciplinary artist based in Long Island, NY. His artistic practice encompasses a diverse range of mediums and techniques, with an emphasis on found objects and picture making. By repurposing and recontextualizing ordinary items, he aims to blur the boundaries between art and everyday life. His use of materials such as metal, wood, casting, molding, and image-making techniques further contributes to the dynamic and tactile nature of his work.
Drawing inspiration from his own experiences and surroundings, Luca incorporates elements such as cars, slide film, and low-resolution images into his work, using them as symbolic representations of familial connections. Through his work, he aims to delve into the realms of self-reflection and self-identification, working with materials and concepts that are intrinsic to his own nature.
Conviviality, accessibility and familiarity are core principles that guide Luca’s artistic practice. He seeks to elicit a sense of connection and recognition in his audience, inviting them to engage with his art on a personal and relatable level. In doing so, he aims to uncover the beauty and significance inherent in the banal aspects of life.
Beyond his artistic pursuits, Luca finds joy in the simple pleasures of life, including cars, cigarettes, gambling, holding hands, tracksuits, and a good espresso. These elements often find their way into his artwork, offering glimpses into his personal experiences and interests.
Billy Chen/陈瀚琮 is a Chinese international lens based artist living in New York. Through his practice, Chen questions the meaning of living, as a long term international student, as a Chinese and an American. Through appropriating and reproducing found images and materials, Billy Chen materializes personal memories as visual incidents while interrogating the effect of omnipresent digital media. His subject matter contains Chinese culture references, Chen questions the authenticity of his images and challenges the tradition of photography as a two-dimensional medium. The result of his practice are photographs and photographic objects that emphasized the fragility of photographs in terms of their capacity to be altered digitally and physically. This fragility further reveals how memories, in extension, identity, can be manipulated by constant exposure to external influences.
Bamboo with Hemp Twine
11’5” x 6′ x 6′