On View: December 2, 2023 - January 20, 2024
Opening Reception: Saturday, December 2, 6-9pm
FJORD is pleased to announce the opening of WINGS, an exhibition of works by new Co-Directors Charlotte G. Chin Greene, Brice Peterson, Amy Shindo, and Todd Stong.
Working with fragmentary material and histories, these artists probe the nature of cultural production as processes of loss, memory, and return. Inherent to this cycle: escape, flight, feathers, light. Dislodging from the onslaught of future-constantly-made-present. Slipping outside time, beside time, into slow time. Longing. Becoming winged.
Charlotte G Chin Greene’s practice considers the relationship between technology, bodies, and time. They think about the digital & virtual as material, as real. What does it mean to embody plurality and genetic memory in a world networked through data and technological manufacturing? More deeply, what does it mean for anything to be anything at all? They are thinking through the strange specificity of technological enmeshment with the so-called natural world, from their position as Chinese-American and nonbinary.
Brice Peterson manipulates objects and images appropriated from the worlds of consumer display, interior design, and celebrity culture to examine the limits of nostalgia and fandom as methods of identification under late capitalism. Referencing in particular the gay icons of his suburban white working-class youth, his work exhibits a sentimental yearning for bygone cultural touchstones while also masochistically unsettling his own relationship to such figures and emblems. He is particularly interested in embodying the perverse fulfillment inherent in loss–that the passing of a celebrity, consumer good, or cultural signifier makes its meaning more salient and expansive. Often these works take the form of printed digital stills affixed to or in conversation with found and purchased objects, which range from basic home goods to, increasingly, “collectible” memorabilia.
Amy Shindo makes objects that are recreations of memories, which she seeks out from fragmentary evidence. Having grown up in a Japanese family restaurant, she examines identity and heritage, filling in the blanks with imagery through food, ceramics, imagination, and dreams.
Todd Stong creates figurative narratives that explore desire, pain, and visual politics in the contexts of sexuality, history, and landscape. Corporeal and frenetic, these scenes represent Stong’s own autobiography as a white gay man interacting with other men and the world at large, with all the accompanying risk, transgression, and reward. In tandem with comprehensive narrative works on paper, he makes tightly cropped poured-plaster monotypes with irregular edges suggestive of lost wholes. Culling source material from a diaristic phone library filled in equal parts with photographs of his lived experience and screenshots of online encounters, Stong collages, then in plaster congeals, various types of memory into single works. In so doing, he hopes to reconcile perceived differences of his digital and physical visual experiences through a liquid, proprioceptive embodiment of image.