Joey Fauerso: Pretend This is a Trap
January 30 – February 16
Opening Reception: Monday, January 30 | 5 – 7 p.m.
Joey Fauerso, Traps (detail). 2016. Gesso on paper.
Joey Fauerso is an artist and Associate Professor of Art at Texas State University. Her paintings and videos have been exhibited nationally and internationally with recent shows at the Drawing Center, Artpace, and the David Shelton Gallery. Fauerso has been the recipient of numerous grants and residencies recently finishing the two-year ‘Open Sessions’ program at The Drawing Center in New York City. She lives in San Antonio with her husband Riley, and their sons Brendan and Paul.
Pretend This is a Trap focuses on Joey Fauerso’s attention to material, process, symbolism and figuration. Fauerso’s new body of work is comprised of paintings and monoprints on multiple, standard-sized papers arranged into clusters around a central textual theme. The arrangements point to a temporal and physical stripping away of color and visual density, bringing together a subtractive acrylic painting technique and the sequencing formatting of video. The process of the paintings and prints coincide with Fauerso’s use of live-action and animation in her video work. The procedural back-and-forth of working between physical and digital platforms reveals the issue of relenting and regaining control—in art making, in society, in life. The modular units comprising video data, sheets of paper stock or segments of text, offer Fauerso a mass of material to draw from, editing out and rearranging the elements into a cohesive whole. Limiting color benefits the artist in that setting this monochromatic boundary allows for more potential in the compositions themselves.
The introduction of text into this body of work is significant in the ways narrative is re-told and re-assembled through the conjoined symbolic natures of language and imagery. The text, composed as poetry of found fragments, potentially creates a very literal narrative to which Fauerso attributes the visual forms accompanying the phrases. Fauerso’s established use of male figures have here become fragmented, broken into components, recycled into symbolic language units. The statuesque male nude figure and the classical face are representative of an ideal form encumbered with symbolic associations. The gapping maw of an open mouth or the void of a dark cave become symbolic containers of potential anxieties. The ambiguity of these gestures leaves room for circular, non-sequential, and again, modular readings of the visual narratives created out of the repetition and reconcextualization of these forms and text.
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