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"every day sugars" : Siera Hyte and Diamond Stingily
to Jul 12

"every day sugars" : Siera Hyte and Diamond Stingily

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every day sugars
Siera Hyte and Diamond Stingily
June 22nd - July 12th, 2019

Opening Reception: Saturday, June 22nd  5-8:30pm
On view by appointment, contact us to set up visitation

Partial Shade and Co-Lab Projects are pleased to present every day sugars, a multi-media exhibition by Siera Hyte and Diamond Stingily in response to A Platform with a reading during the opening reception programmed by August Huerta.

This project with Partial Shade will be Hyte and Stingily’s third exhibition working together. They will present a collaborative sound work, as well as printed matter, that draw on the dynamics of interpersonal relationships and ordinary actions.

Additionally, Hyte will present a new body of related work to be installed on and around the platform. August Huerta, an Austin-based poet, will organize a program of readings in conjunction with the exhibition’s opening night.

Diamond Stingily (b. 1990, Chicago) lives and works in New York. She has presented solo exhibitions at CCA Wattis Institute for Contemporary Arts, San Francisco; Institute of Contemporary Art, Miami; and a forthcoming exhibition at Kunstverein München, Munich. Group exhibitions include Schinkel Pavillon, Berlin and the surveys 2018 Triennial: Songs of Sabotage and Trigger: Gender As A Tool and a Weapon at the New Museum, New York.

Siera Hyte (b. 1990, Santa Ana) lives and works in Austin. She has presented solo exhibitions at Cordova, Barcelona; Musclebeach, Portland; Queer Thoughts, New York; and Egg, Chicago. Group exhibitions include Liste, Basel and Essex Street, New York, as well as a previous exhibition with Partial Shade, Austin. This fall, she has a forthcoming exhibition at Fresh Bread, Chicago.

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A Platform is a series of events and art installations organized by Partial Shade and Co-Lab Projects, centered around a physical platform built in an empty lot in East Austin. A Platform will provide a literal and conceptual space for emerging artists to share work and experiences and will provide artists and visitors an opportunity to experiment with new modes of relating to each other and their surroundings.

The structure for A Platform takes the form of a ramp gradually rising to a flat platform 2ft off the ground; this incline makes the platform more accessible to viewers and acts to undermine the established hierarchical relationship between performer and audience. This blurring of boundaries by an unusual, structural site from which to make and view art will encourage all involved to renegotiate their relationship with the physical and social space they are navigating.

PARTIAL SHADE is a nomadic curatorial project focused on organizing visual art exhibitions in non-traditional spaces, with work that is responsive to, considerate of, and affected by its environment. Untethered to one specific piece of real estate, Partial Shade operates as a model for a sustainable, alternative exhibition platform, and offers artists the opportunity to experiment with work that wouldn’t otherwise fit comfortably in a conventional gallery space. Partial Shade is organized by Rachael Starbuck, Michael Muelhaupt, and Jesse Cline.

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Permanent.Collection and Co-Lab Projects present: Sarah.Canright / Kaveri.Raina
to Jul 27

Permanent.Collection and Co-Lab Projects present: Sarah.Canright / Kaveri.Raina

  • Co-Lab Projects @ Springdale General (map)
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When life sends pictures you can’t digest quickly enough you
convert them to a cartoon mechanism so that the colors become
very hard and strong. Very clear so you can abide them. Think of
the work of Rainer Werner Fassbinder. Heavy shit. Same deal.
Always each image leans on the other held abreast by wefts and
warps so the shock of reality really gets caught. Held.
—Eileen Myles, Afterglow (a dog memoir) (2017)

Permanent.Collection and Co-Lab Projects present:
Sarah.Canright / Kaveri.Raina
July 6th - 27th, 2019

Opening Reception: July 6th, 7-11pm
Open Hours: Tuesday-Saturday 12-6pm

An ongoing exploration of self manifests in the paintings of Sarah.Canright and Kaveri.Raina. Here, portraiture in a shimmering space of fugitive color and light predominates. Employing techniques of abstraction, both artists are attentive to the memory of figurative forms, a landscape rooted in personal history, and a lifelong, almost-diaristic dedication to similar subject matter, including four-legged creatures, shadowy silhouettes, and irregular patterns.

The subjects of Sarah.Canright’s recent paintings hide, peek, layer, and weave appendages under and over one another. With direct line work, Canright’s oil paintings offer up a surface-level read of highly skilled realism, yet their pale subtlety in color and tone insist on another perspective, one seen through an abstract lens. Her oils evade accurate reproduction, in person offering an array of retina-confusing, vibrating color that seems to shimmer like a mirage under heat and light. In Canright’s watercolors, the figures are shaped by a bold, confident, and nuanced brush—bare-bones, essential information all conveyed by the most minimally painted mark, one that constrains but doesn’t bind. Light and color are captured within the lines like a bead of water: dependent and contained, yet able to scatter, disperse, and cascade at any moment.

Canright returns regularly to the portrait, often in profile, as the most reductive essence of her elegant subjects. These characters are emotionally expressive and full of life, folding themselves into the frame. Some also serve as a memento mori, a document of sickness and death created from photographs and memories of mourning. Somber, measured, haunting, and altogether loving, Canright’s use of companion iconography highlights an aspect of life that both tethers us and allows us to be free.

It’s hard not to deal with stark realism here in central Texas, faced with such intense heat, light, and humidity. The blue of sky, the white of the air, the red-brown earth. The staggering expanse of landscape, both lush and harsh. On most days there is a brilliant, fractal mirroring of light. To view Canright’s paintings is to become the light source, emitting and exuding an aura, an energy onto the canvas. A silhouette cast from white light, bleached out, like bones that have lived outside in the hot desert sand. And in all that light the image fades into the lost blink of memory.

In contrast, Kaveri.Raina’s paintings, often on the rough, utilitarian warp and weft of raw burlap, are punctuated by constrained glyphs and icons: bright color circumnavigated by a circling, obscuring haze of graphite. For Raina, a multiplicity of landscapes and identities collide to inform her work, from the frenetic urban sprawl of India’s capital city to the staid, wide plains of central Ohio. She regularly paints on both sides of the fabric, a scumbled thicket of pigment pushing from the back toward the surface, evoking a kind of suspension between two worlds. Raina’s subjects, translated and repeated until they are distilled and reduced in form, appear as shadowy silhouettes of indeterminate origin, blocked and blocking one another as they jockey for predominance on the surface.

Haunting, noir, these shadows tell a story. At one point a hat, perhaps an umbrella in the rain, two legs in a burlesque kick, a cow’s head, or maybe a dog running, a vase, a woman’s hair picked up by the wind. Here the light source seems to come from the background, from behind the silhouettes. A lantern cast from backstage, these shadow puppets dance behind the curtain, acting out a play we cannot hear. We are blocked, blinded, seeking out the outlines of an oncoming car through its high beams late at night on a small and winding rural road. Raina’s repetition of concentric circles could be the surrounding hazy glow from a bright light seen through rain—or perhaps her repeated marks cast a spell on the surrounding scene, a force field of energy unwinding the narrative, pulling characters together or holding them suspended, hovering, apart.

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This exhibition is curated by Permanent.Collection and presented in collaboration with Co-Lab Projects. Text by Julia V. Hendrickson.

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Born = Chicago, Illinois (1941)

Raised = Chicago, Illinois & Winter Park, Florida

Lives = Austin, Texas

BFA = School of the Art Institute of Chicago (1964)

Work = Associate Professor of Practice, Studio Art (Painting & Drawing), The University of Texas at Austin (1982 – present)

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Born = New Delhi, India (1990)

Raised = New Delhi, India & Columbus, Ohio

Lives = Brooklyn, New York

BFA = Maryland Institute College of Art (2011)

MFA = School of the Art Institute of Chicago (2016)

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Permanent.Collection is: archive of simultaneity. experimental exhibition space with a heart in Chicago, Illinois, a home in Austin, Texas, and a future in Los Angeles, California.

X.a curatorial project of Julia V. Hendrickson and Anthony B. Creeden.

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