MOON ROOM

Moon Room is Kristin Weckworth's curatorial exploration of the moon and the layers of hidden meaning associated with our beloved night time companion.  Weckworth's starting point for the show was the documentary Room 237 (a film that attempts to unravel the many conspiracies, confessions and subtexts thought to exists in Kubrick's The Shining) and the 1940's children's book Goodnight Moon.  Both the Overlook Hotel and the rabbit's quiet bedroom have captivated audiences and prompted searching for deeper meaning within the patterns and symbols presented by their respective authors.  Weckworth uses the  moon to epitomizes this shrouded second reality: "Moon Room acts as a holder of possibilities and hidden meanings, a physical example of the myriad faces that can exist amongst those presented and masked."

The exhibition Moon Room closes today with a reception from 3-6 at Narwhal. Naomi and I were pleased to participate along with Adrienne Kammerer, Alexandra Mackenzie, Alicia Nauta, Carly Waito, Eli Langer, Eunice Luk, Hanna Hur, Jennifer Murphy, Karen Azoulay, Kendra Yee, Lisa DiQunzio, Maggie Groat, Margaux Williamson, Maryanne Casasanta, Nikki Woolsey, Patrick Krzyzanowski, Rebecca Fin Simonetti, Sab Meynert and Vanessa Brown.

Photos courtesy of Narwhal 

Nikki Wooley, Aside the table and Alicia Nauta, Goodnight Moon

Naomi Yasui, untitled and Heather Goodchild, and the evening and the morning

Lisa DiQuinzio, Owl painting

Nikki Wooley, Aside the table

 Eunice Luk, It's only five after ten

 Adrienne Kammerer, The infernal eternal

Karen Azoulay, Ancient Crater

Jennifer Murphy, Hands

Patrick Krzyzanowski, untitled

Hannah Hur, SOS

Maryanne Casasanta, Half the Day is Night

CHAPTER IV : PAINTING WITH FIRE

Closing this Saturday is Naomi Yasui's solo exhibition at ESP Project Space:

Chapter IV: Painting with Fire is a collection of ceramic vessels and photographs produced during a residency in Skælskør, Denmark. These forms look to historical Japanese ceramics fired in atmospheric kilns. The firing process dictates the form, a means to capture the mysterious and erratic colours that emerge when unglazed clay meets fire. Elongated and bulbous forms were created to best capture the effects of firing and cooling with natural materials, while embracing the uncertainty of this method. Yasui’s conceptual practice revolves around process, form, and happenstance. The products of experimentation are exhibited as remains alongside finished pieces, allowing the viewer to glimpse and judge the artist’s edits. 

The title of this exhibition is borrowed from an instructional ceramic book titled Soda, Clay, Fire by Gail Nichols, a text Yasui referenced frequently while experimenting with atmospheric firing. Accompanying the sculptures are photographic works that explore traditional ceramic documentation and play with these aesthetic choices. When three-dimensional objects are flattened by photographs, the viewer is forced to observe them from only one perspective. This relationship between perception and reality again explores what the artist decides to reveal.