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Fletcher Boote + Alisha Kerlin + Austin Shull + Rachel Wren

Repetti (old location)
44-02 23rd Street, 4th floor, 718-670-3226
Long Island City
February 2 - February 29, 2008
Reception: Wednesday, January 2, 7 - 9 PM
Web Site

Four rapidly emerging young artists present new work across a wide spectrum of media. Sound, sculpture, video, painting, and installation are explored, while a dialogue between the works, their creators, and the viewer gives form (and perhaps a title) to this project at Repetti.

Dialogical in nature, Austin Shull’s new videos document the artist performing various fundamental, yet rebellious chores. The Washington Monument serves as a backdrop for ‘DC Fire,’ in which Shull makes a fire without matches as an act of protest and resistance. He says that while “late capitalism continues to increase the distance between labor and sustenance, my actions in these videos address the relationship between human energy expenditure and elements such as water or fire, needed for survival.”

A strange sense of impending uncertainty is created by ‘Cascading Brink of Upper Falls’, a furniture and video installation that Alisha Kerlin describes as a “voyeuristic bedroom grouping.” Much of the video looks inward, through a Viewmaster, where scenes from reels like ‘Spectacular Waterfalls’ mingle between fiction and reality. Meanwhile, Rachael Wren’s paintings radiate light outwards, their forms slowly unfolding before the viewer. Like Shull’s videos, these easel paintings are made through an exploration of basic formal phenomena. Here they’re presented not only as documents of that journey, but also as invitations for viewer participation.

In his book, ‘Conversation Pieces,’ Grant Kester describes Dialogical work as, “unfolding through a process of performative interaction,”and standing in contrast to traditional art which is “produced entirely by the artist and only subsequently offered to the viewer.” Dealing with the very participatory medium of sound, Fletcher Boote says she hopes to, “eradicate the boundaries that separate ‘one’ from the ‘other’. Presented here are single modules of sound, often her own voice, which build into a crescendo of information before again allowing quiet. Just as meaning is derived through the collaboration between Boote and her audience, we hope a project title is generated in the wake of the interaction between these four artists’ work.
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