Homework: Play
September 28 - October 16, 2017
Mason Gross Galleries, New Brunswick, NJ
Curated by Amiko Li and Beatrice Orlandi
Nick Grasso, Amiko Li, Beatrice Orlandi,
Karina Ruth, Stephen Williams, Young Sun Han

For this exhibition, six artists will explore playfulness as a strategy for second guessing stable, “grown-up paradigms” through objects, photographs, videos, and installations. The selected works might also fall in the category of the cute, a minor aesthetic affect (as Sianne Ngai defines it), seems to call up for sensuous feelings that are able to trigger consumption, yet remain totally unnecessary and irrelevant to the market. Like domestic work and affective labor, where this category mostly reign, the cute might be planning to carry a certain subversive agency unnoticed, spreading it around with the help of its alley in incognito, the young buyer, while the adults are busy doing “important stuffs”.

From Error of nature, Monsters and Sport
Reception: October 30th, 5 - 9pm
40.474584, -74.421716
Curated by Jett Strauss and Julian Gilbert-Davis
Josh Araujo, Colleen Billing, Amiko Li,
Josh Minkus, Beatrice Orlandi

For whoever knows the ways of Nature will more easily notice her deviations; and, on the other hand, whoever knows her deviations will more accurately describe her ways. That feeling when a seemingly boundless space produces the first echo of your footsteps. Your gut is anchored to the floor while your eyes search for edges of a now unknown place. This is an algorithm, a neighborhood, or an art gallery. "From Error of nature, Monsters and Sport" is not a eulogy for objectivity but the exposure of hegemonic forms, as if the blank slate was revealed to be ten thousand Muji® humidifiers clogging the air of an apple store.

Cactus Cast Shadows of Flowers
November 17 - December 14, 2016
Mason Gross Galleries, New Brunswick, NJ
part of MFA First Year Exhibition

I am interested in the construction of gender and identity in our daily life. In Cactus Cast Shadows of Flowers, a series of ten photographs made in 2016, I observe people and their posture, carefully exploring my own identity through the strategy of staging and reenactment, referencing a variety of sources - anime, manga, music video, television footage, and film stills. For me the position of the body functions as only one part of the image - and maybe not the most important aspect - of constructing identity, It could be that vulnerability and powerlessness and underline availability of the body (in any given position) is what is "feminine".