Stephen McLeod is working on an ambitious project to play Erik Satie’s composition, “Vexations” on 840 different pianos. It will probably take him many years to complete. In the meantime he is making (silly) experiments using the Vexations score as a starting point — considering the problems of instruction art and the limitations of language in conveying any sort of truth.
Deep Water, Deep Water
November 16 – 22: 3-6pm daily.
Opening Reception: November 15. Doors at 7pm, performance begins at 8:30pm
Deep Water, Deep Water employs images, objects, and words to process, examine, and experience ecstatic aloneness.
I remember standing inside a chapel made of dead monks’ bones, so silent and clean, and marveling at its beauty, unaffected and unafraid. I know there was once a time when I could say that no one I loved had died, and it seems funny to remember, to think that such a time existed at all. When death did come for him, it wasn’t silent or clean. The end was loud, before and after.
Deep Water, Deep Water is concerned with this process of becoming a lone thing, the person left to live behind and stay beyond, to outlast the other. Using remembered spaces and places as points of entry, the exhibition narrates this experience of a life holding loss in both visual and verbal modes. Alisha Monypenny is a painter, maker, storyteller, and collector. In conjunction with the exhibition, Monypenny will perform a reading from her catalog of images and prose, Shudder Hum, which will be made available for perusal and purchase.