Slide Space 123 is pleased to present Additive Measures, a group exhibition featuring work by Mills College MFA Studio Art alumni: Rosana Castrillo Díaz, Nicole Phungrasamee Fein, Kija Lucas, James Sterling Pitt, and Simon Pyle. These five artists share an occupation with the passage of time, and our intrinsic human want to quantify and describe the vastness of this experience. The act of accumulation, be it a collection of personal notes or the progressive loss of information in a jpeg file, becomes a possible metric for this arduous task.
Rosana Castrillo Díaz’s material studies revel in the subdued elegance of light and gesture. Linen, paper, and tape are layered and finely manipulated by hand, demonstrating the resilience of these unfussy materials. With a knot, tear, or dusting of mica powder, she constructs diaphanous forms that demand the careful, extended attention of their audience. The work derives its quiet strength from that which is underestimated or overlooked.
Similarly, Nicole Phungrasamee Fein’s graphite drawings and watercolor paintings are a measure of willpower and focus. Her precise hand exerts restraint on media not typically known for its pliancy. Pigments are carefully regulated, line-by-line, into expansive monochrome gradients and auras. Though her work functions as a record of time used, the inherent energy of her images ultimately transcends the diligent, exacting process used to create them.
Kija Lucas photographs personal effects as a means of documenting familial histories and memories. Belongings become markers of time, or indicate altered perceptions of its passage. Lucas’ grandmother, who lives with Alzheimer’s disease, is the subject of Collections from Sundown. Here, Lucas gathers images of her grandmother’s handwritten or physical prompts to remember. The evidence of repetitions and lapses in memory illustrate the realities of living with a non-linear sense of time.
The act of remembering is central to James Sterling Pitt’s process. Specific places, moments, and sensations are encoded in his loosely rendered, earthy drawings. Pitt’s sketches are symbols, developed out of a personal necessity to record lived experiences with a more direct method of recall. When translated into their three-dimensional forms, his memories are made physically tangible.
Simon Pyle’s media work considers how technology is employed to store and regulate time. In The River Lethe, Pyle repeatedly saves individual frames of a video in a lossy, jpeg format, degrading footage of a pastoral river scene nearly to the point of erasure. By disrupting and slowing an automated process that was meant to both save and preserve time, he reveals the folly in our attempts to do either.
Guest curated by Mills College alumna Nora Roth.