The works in ‘Haphazard Paradigm’ look to question the deep cultural identities a person invests in; race, gender, and nationality. These historical and anthropological positions created to structure and perennially reaffirm social constructs, do so under the guise of identity. Such structures fix identifiable attributes to bodies, persons and communities, with little room for fluid variables. Questioning whether these constructs are nothing more than antiquated aesthetic signifiers, tethered to economic and political taxonomies, the artists in this exhibition smash, edit and ignore pedagogical social paradigms, so that gender and desire are free-floating, and the ideas of race and nationality are flexible.
Grahame Weinbren , recognized as a pioneer of interactive cinema, has made films and installations for over 30 years including this collaboration with Roberta Friedman, “We are always interested in constructing ways of evoking the pleasures of cinema without implicitly accepting an ideology—of passivity, manipulation, and repressed violence—that we would explicitly reject. Can there be films that remain cinematic without indulging in one form of pornography or another?” "Murray and Max..." is, in part, a proposal, a blueprint, for such a form of cinema.
Daniela Puliti proudly proclaims herself a strident feminist, creating work as a social and cultural critique from that vantage point. Humor operates as ingress to explore issues of intimacy, isolation, frustration, anger, and repression. The use of craft materials such as yarn, fabric, and glitter challenges the hierarchical notions of art making.
Through strategies of arrangement and contingency, Kristine Eudey’s (b. 1986, Rockford, Illinois) works revolve around human relationships to material and power. Through a practice spanning sculpture, photography, and video she explores the ways in which image-based representation and the augmentation of physical space convene to shift our relationships to the visible, producing a condition of abstracted and infinite views.
Melvin Harper (b. 1980, United Kingdom) These fabric sculptures replicate sex dolls. Using luxury fabrics the form becomes clad in the same systems of fashion semiology we use, but vacant of western identity - gender, race, nationality being neutralized, along with the utility of labour. The removal of demographic removes sociological narrative, procreative posterity yields to an aggressive carnal action, invoking a futility of purpose, what remains is a form, a body, latent with the action of penetration, a fuck vessel. Alpaca, super 120s wool, cashmere, and functional satin lined orifices mock a contemporary western psyche entrenched in systems of aesthetics.
Born and raised in Southern California, Johnnie Chatman is a photographer and experimental filmmaker residing in New York City. His work has been shown across the U.S., including exhibitions at the Claremont Museum of Art and the De Young Museum in San Francisco. His art practice explores the dyad of human growth and the exploitation/ alteration of the natural environment by examining areas of equilibrium and offset, through constructs of identity, historical implications of the West, and cultural capital.