Pelavin Gallery is proud to announce an exhibition of recent installations, works on paper and videos by Tara Fracalossi. Fracalossi has been exhibited widely in museum and gallery contexts and has been included in international exhibitions. This will be her first solo show in New York City.

Tara Fracalossi was born in Jersey City, New Jersey in 1966, she attended University of Vermont, in the 1980s and later received her Masters from The University at Albany. Fracalossi’s ongoing Archives project (1998–present) comprises thousands of categorically sorted digital photographs documenting the artist’s everyday life and surroundings. The subject of each individual photograph is typically generic—a woman in a white dress, blurred street signs, a city at night—yet, like a diary, these snapshots of the ‘little things’ become recordings of the true picture of her life. Whether printed or projected, Fracalossi produces numerous reproductions of these digital recordings, which are then generally taken out of their original context and recombined to form new spaces and fields in the photographic objects she later creates. In contrast to the tightly defined organizational parameters of her digital archives, new relationships between form or content are explored and exploited in these photographic objects through an ever shifting system of sequencing. This juxtaposition in Fracalossi’s work critiques the act of reproductions becoming stand-ins for actual moments or experiences of everyday life, while at the same time exposing systems of classification, order or preservation as ultimately arbitrary in their promise of time and memory regained.

This exhibition includes wall installations and several new works on paper. Hundreds of individual printed images, all excerpted from the artists digital archives, have been meticulously color corrected, printed, trimmed and mounted by hand. Fracalossi’s works on paper, or ‘drawings’, become poetic inquiries into the meaning of our photographically recorded existence; her wall installations, which consume most of the gallery walls, envelope the spectator in a type of cinematic world of pure perception and false memory feedback; like a child we seem to be seeing the world for the very first time—disoriented, but in awe.

Acknowledging the filmic quality of much of her work, Fracalossi has also recently begun an exploration into video and projections. Like most of Fracalossi’s works, we are confronted with personal, yet ambiguous, moments from her everyday life. She continues to retain a sense of intimacy, of the artists hand, of a personalized vision of the world. On one level they are home movies, but on another they offer a grander, far-reaching, even mythic view of the world.