Sam Anderson - Cara Benedetto - Milano Chow - Adam Gordon - Willa Nasatir
Sam Anderson‘s multidisciplinary practice includes film, sound, drawing, and sculpture. Her sculptural work resembles personified prototypes, often depicted alone. Stemming from an early background in theater, she characterizes the existential monologue, using minimal objects and gesture. Anderson’s work examines the material world as well as themes of role playing, power, restraint, perception and desire.
Cara Benedetto examines modes of creating value, and mimics those modes using their own forms and language. Through text, video, and performance, Benedetto subverts power structures, romantic and otherwise. Formally trained as a printmaker, Benedetto explores the physicality of her chosen medium as a metaphor for the fragility of our present moment.
Milano Chow creates intricately detailed drawings by combining precise graphite renderings and collaged photo transfers. Through her unique visual language, she constructs imaginary architectures and framed narratives that elicit film noir and stage sets. Her work blurs boundaries between private and public by recasting interior environments and exterior structures to create ambiguous, layered compositions. She speaks to notions of surveillance and voyeurism which have become increasingly pertinent in our digital age and acknowledges a mounting collective anxiety over the ways in which we navigate space.
Adam Gordon centers his multi-disciplinary practice on the framing of personal experience. Shifting between paintings, totalizing installations, constructed encounters, and video, his work trains our attention towards everyday existence.
Willa Nasatir explores the dissociation between what is depicted and what is seen. Working with both painting and photography she often alludes to narrative techniques, while simultaneously withholding any coherent message. Her photographs begin with a sculptural tableau in the studio, featuring cast-offs and found detritus that take on symbolic weight in their gradual accumulation and repetition. Once surfaced in her final photographs, these initial sculptural elements assume an air of illusion, often photographed and re-photographed to the point of fracture and obscurity.