august 24, 2017 7:00pm - august 24, 2017 10:00pm
Day & Night Projects
Please join Tallahassee’s SOUP Experimental on August 24 from 7-10PM for their opening reception of FANTASY with Day and Night Projects in Atlanta, GA. Artists: Ashton Bird,
Artists: Ashton Bird, Sierra Kramer, Matthew Lawrence, Chelsea Raflo, and Lucia Riffel
Opening Reception: Thursday, August 24, 7–10pm
Exhibition dates: Aug. 24–September 16, 2017
Viewing hours: Weds., Fri., Sat. 11am–5pm, or by appointment.
Day & Night Projects is pleased to present FANTASY: a collective of artists who utilize various modes of painting, installation, sculpture and video to depict delusions within perspectives and interpreting reality.
Lucia Riffel makes work that wavers between digital, physical, and psychological space. Riffel is fascinated by spaces and things that simultaneously exist infinitely and not at all. Where does the internet go when we aren’t looking? Where do we go when we are looking? She is interested in where we are when we are lost in our phones, and how we experience such real things every day that don’t physically exist. Projections and looping animations create experiences that physically exist temporarily, but cycle on endlessly beyond the technological glow.
Chelsea Raflo’s current body of work is an installation of mixed-media mobiles that express fragility and stability in equal measure. She is drawn to the kinetic energy of suspended objects and the negotiations of balance that result in simple, elegant arrangements and vulnerable shape relationships.
Matthew Lawrence’s physically imposing paintings flash, goop, and tear as they dissect representations of abstracted celebrity archetypes as well as reveal what might be choreographed moments in domestic spaces.
Sierra Kramer depicts heartfelt memories from her childhood, her work seeks to evoke an emotional and imaginative experience from the viewer. Sierra’s tremendous nostalgia for simpler times, memories of constant love and protection assist in the creation of enveloping interactive installations that initiate the viewer to daydream.
Ashton Bird’s objects reference memories that have been manipulated by time and age, where both the original object and its meaning fade into ambiguity as it is marked and deconstructed, allowing new unintended content to emerge.