By Leah Triplett Harrington
Abed Elmajid Shalabi’s When Tomorrow Arrives We Love Life comprises nine elegant, spare sculptures installed at irregular intervals throughout the Hamiltonian Artists space. Each sculpture riffs on car culture and is made from a cast or literal piece of a car or truck. Gas nozzles, road signs, a truck bed, or car seats repeat throughout, but not as abstract motifs; these are actual objects synonymous with distances, journeys, and travel, which are the exhibition’s implicit themes.….
By Wayson Jones
Words fail, and then the fun begins.
In his solo show at Hamiltonian Artists, Kyrae Dawaun tightly weaves concept, narrative, craft, and form into a river-of-consciousness whole, the effect of which is at once exhilarating and deeply moving.….
By Gregg Bordowitz
Jason Bulluck’s exhibition and all the work included under its title Let’s Believe Brief Utopias proceed from the foundational premise that the privileged site of art—art’s placement in the gallery, art’s here-and-now—is dispersed. The show’s manifestations in many forms are distributed through time, space, motion, and exchange—here, there, everywhere, and nowhere—all at once.…
By Hannah Barco
On a recent visit to ceramicist Ara Koh’s studio, I observed a brief exchange between a deaf visitor, her translator, and the artist. The visitor wanted to know how a series of ceramic objects had been made. […] Koh explained her process of using a clay extruder, likening it to a sausage making machine; the ASL translation included several signs that looked like what they described (the iconicity of sign language that is often mistaken as pantomime). The sign for machine leverages the knuckles to interlock like gears and show the beginning of a rotation, fingers enmeshed.…
By Mauricio Alejo
Good artists are always foreigners. I don’t mean in regards to the soil they come from; rather in the ways in which they relate to reality.…
