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'Rites of Passage:
The Mortality of Time'

Exhibit dates: 29 March-26 April 2008. Reception: 29 March.
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Karen Aqua
Gili Avissar

Karylee Doubiago

Rebecca Ebeling
"Elegant Afterlife and the First Blister"
Balloons, mirrors, silicone, tape, thread
Tara Giannini
"In the Grotto"
Mixed media
Gina Gibson
Christopher Gonzalezfull image
"Skeleton 7"
Photographs and white pen

Patrick Hammie
"Self-Portrait at Dawn"
Oil on paper
Jennifer Hines
Cast handmade paper, Xerox transfer
Jeanne Jo
Souymia Krishaswamy
"Life on a Chain"
Oil on canvas
Joao Machado
Diane Malisfull image
Image transfer/mixed media
Ann Mansolino
Gelatin silver print
Edith Meijering
"Man Watering Grave"
Matthew Mosher
Sarah Pike
"Common Room"
Oil on paper on board
Robin Radin
"Boston State Hospital, Abandoned"
Selenium toned gelatin silver print
Carol Radsperecher
"Baldeen Self-Portrait"
Gail Rebhan
Eric Redetzke
"Businessman I"
Oil on magazine clipping
David Schulzfull image
"Untitled (from'Mirage' series)"
Lambda type-C print
Bradley Treadawayfull image
Tim Waldrop
Enamel on panel
Margaret Weigel
Digital print on canvas
Kaitlin Wilson-Bryant
"Father, from “Cadence” series"
Archival inkjet print




Curated by Kathy Desmond and Lauren O’Neal.

Rites of Passage: The Mortality of Time features contemporary art that explores issues of aging, time, mortality and death in a variety of media. Perhaps is it our inherent self-centeredness that makes these topics seem so germane and so urgent to our own personal life: What will happen when I get old? What will be like to die? Objects, materials, and moments have their own mortality as well—one material shifts into another, with a passing that is not necessarily commemorated with tears and wreaths, but that is certainly worthy. To consider mortality in any circumstance is to consider time, and the works in Rites of Passage all consider change as a marker of time: of time arrested, of action and inaction, growth, decay, and potential: What might happen next (time)?
The mortality of the body is one area of focus. While this would seem a commonplace interpretation, the artists in Rites of Passage investigate not only the frailty of the body under stress of illness or age, but also the way we mark or record these changes in visual terms. The act of marking then is a way to participate in the very existence we hold so dear: it keeps us here, it identifies us, it allows us to process changes and explore new possibilities for being human.
Mark-making, as a challenge to, or sometimes an acknowledgement of, the passage of time, is ultimately a gesture of action and engagement, rather than of futility. The mark of a line becomes a map, a pathway, or a way to imagine the future. Marks also explore our awareness of time passing and the urge to capture or record it—a dual perspective on our physicality and our consciousness.
We have a contentious relationship with time. It is, after all, the thief of mortality. By the same token, we are endlessly fascinated by its effects. Artists in Rites of Passage: The Morality of Time investigate these themes through a range of media, including photography, video, painting, sculpture, and mixed media. Within the work there is curiosity, fear, contemplation, humor, and hope.

Karen Aqua (Somerville, MA)
Gili Avissar (Israel)
Karylee Doubiago (Adams, MA)
Rebecca Ebeling (San Francisco, CA)
Patrick Hammie (Storrs, CT)
Jennifer Hines (Chicago, IL)
Tara Giannini (Brooklyn, NY)
Gina Gibson (Cerro Gordo, NC)
Christopher Gonzalez (Weatherford, OK)
Jeanne Jo (Providence, RI)
Souymia Krishaswamy (New York, NY)
Joao Machado (Santa Catarina, Brazil)
Denise Malis (Somerville, MA)
Ann Mansolino (Grand Rapids, MI)
Edith Meijering (Zutphen, Netherlands)
Matthew Mosher (Newton, MA)
Sarah Pike (Bennington, VT)
Claire Putney (Everett, WA)
Robin Radin (Jamaica Plain, MA)
Carol Radsperecher (Brooklyn, NY)
Gail Rebhan (Washington, DC)
Eric Redetzke (Portland, OR)
David Schulz (Brooklyn, NY)
Bradley Treadaway (Oak Ridge, NJ)
Tim Waldrop (Macomb, IL)
Margaret Weigel (Medford, MA)
Kaitlin Wilson-Bryant (Rochester, NY)

Karen Aqua
Somerville, MA
Perpetual Motion is a shrine to ritualized time. This hand-drawn film celebrates the cyclical nature of time, and the symbols and rites which have been created to mark and honor its passage. The film explores, in constantly transforming images, the cycles of life, death and rebirth. It presents the four elements of earth, water, fire and air, and depicts characters in a ritualistic relationship to these elements.
Image: Perpetual Motion

Gili Avissar
Gili Avissar’s video explores cycles of life, death, growth, and decay within the time-honored tradition of artistic self-portraits.
Image: Self-Portrait of the Dead Artist (video)

Karylee Doubiago
Adams, MA
June (from the Journal Quilts Series): The heat continues, the depression continues, the tiredness continues. I find it hard to believe that after 6 months of being depressed, I can’t get out of it. I can’t clear my head. I look in the mirror and the image staring back at me is getting more pale, more tired, more haggard. I now find no relief in sleeping. The nightmares are too painful to take. Too close to home. I would rather spend my nights awake, then have to face my fears in my sleep.
Image: Untitled (mixed media)

Rebecca Ebeling
San Francisco, CA
I am seduced by the shiny and the new, things that are plastic and artificial and every way. I am also seduced by the beauty of an object in its own demise… My interest lies in using these materials to create bubbly, animated objects, that will undergo a metamorphosis into a pathetic, lifeless, shriveled piles of plastic and synthetic mass.
Image: Untitled (balloons, silicone, mirror, tape, thread, plexiglass rods)

Patrick Hammie
Storrs, CT
Two events have been regular influences in my work: my father’s premature death in 1999 and being diagnosed with hypertension in 2005. Themes of loss, mortality, abnegation, and aging have been consistent throughout my
investigations. Currently, I am concerned with recontextualizing the image of the modern male and the struggle to transcend typical masculine trends like independence, dominance, and emotional intractability.
Image: Self-Portrait at the Dawn (oil on paper)

Jennifer Hines
Chicago, IL
I feel that everything has a story behind it, and those collective stories are what make up our identities. Epitaphs is a commemorative artwork where I tribute to my relatives who have died, writing letters describing my feelings and observations I remember about them. The closed envelopes are letters yet to be written, addressed to my family members who are still living.
Image: Epitaphs (detail, cast handmade paper, Xerox transfer)

Tara Giannini
Brooklyn, NY
I locate beauty in the grotesque, the gaudy, and the unusual. It is for this reason that my work pushes the limitations of taste and excess. I focus on the particular facet of beauty that deals with the macabre, and
highlights the fragile and transient beauty of death and the passage of time.
Image: In the Grotto (mixed media)

Gina Gibson
Cerro Gordo, NC
My intention is to use my work to highlight the importance of authenticity found in social situations, particularly in the communication and interaction found in familial and romantic relationships. My interest lies in the subtle nuances of everyday life.
Image: Mom with Books (digital print)

Christopher Gonzalez
Weatherford, OK
Skeletons represent a number of things to me, from my childhood fear of them to my newfound fascination with their sleek smooth beauty and intricate weavings of bone, creating a living architectural framework inside flesh siding.
Image: Skeleton 7 (photographs & white pen on board)

Jeanne Jo
Providence, RI
Yarn is soft, easily broken, unassuming—usually found in quiet craft practices. Crocheting and other needlecraft practices are incremental systems that function as markers of time. My work transforms preconceptions about yarn, reversing and subverting its linear structure.
Image: Spinning (video)

Souymia Krishaswamy
New York, NY
Everything that lives, dies. I am consumed with the dualities and ironies of the human condition, and they become the focus of my exploration in the studio. The human condition is to be borne into a skin, a physical body, and to have to reconcile that existence via the intangibilities of conscious thought. The studio itself is my physical locus of creation, destruction, and duality. It is my tangible exploration of a philosophical pursuit.
Image: Life on a Chain (oil on canvas)

Joao Machado
Santa Catarina, Brazil
Part documentary, part fiction, Sons of Saturn is a bold narrative experiment that tells a fictional story with the use of “real” archival footage. Super 8, 16mm, video and photographs pertaining to an actual family—a story of rags to riches to rags again, extending over the heroic and tragic lives of three generations of men.
Image: Sons of Saturn (video still)

Denise Malis
Somerville, MA
Questions of who, what, where, when and why are the existential axis points of our human condition. The baby holds the potential, wonder and fragility of our existence. The newborn has the presence of being in and out of our world as well as being connected to the world beyond our reach.
Image: Awakening (image transfer & mixed media)

Ann Mansolino
Grand Rapids, MI
Ann Mansolino’s photographs investigate memory, identity, time, and the relation of self to family history through interactions with old images and other objects. Through the inclusion of weathered spaces and of old family photographs (of relatives long dead), current identity is seen as inextricably bound up with the past.
Image: Untitled #2 (silver print)

Edith Meijering
Zutphen, Netherlands
I recently lost my both parents, one shortly after another. I’m a painter, and in my works I reflect on this amazing subject: seeing your roots driven away. Despite this unspeakable process of mixed feelings, in my paintings I tried to speak.
Image: Man Watering Grave

Matthew Mosher
Newton, MA
I seek clarity through genuine experience. I edit to the essence of an idea. I am a conceptual craftsman and deliberate designer. Oceans, airplanes and meaning inspire my work. I now wander the globe creating conceptual art and contemplating emptiness.
Image: Release Control (video still)

Sarah Pike
Bennington, VT
Intrigued with the subtle orchestration of a condensed color-value range, I seek to grasp the illusiveness of emotive space by creating an environment where light and air are tangible. The images are developed by filtering through the accumulation of experience gathered while working with Hospice patients; combining and overlapping multiple moments to arrive at a singular image.
Image: Pulling Up (oil on paper on board)

Claire Putney
Everett, WA
My grandfather made maps, my mother followed them, and now they have been passed on to me… My work explores the dichotomy between the human body and topographical landscapes [and] evokes change, decay, infestation and the transformation of time and landscape.
Image: Chronicle I, Map 10 (graphite, ink, dirty, pigment on paper)

Robin Radin
Jamaica Plain, MA
Image: Boston State Hospital Abandoned (silver print)

Carol Radsperecher
Brooklyn, NY
Baldeen is a visual record of me, hairless, after chemotherapy...Through making this work, I explored issues of identity, self-perception, and changes in perception—issues that grew very important to me as I tried to adjust to my new status and new identity as a cancer patient.
Image: Baldeen Self-Portrait (acrylic)

Gail Rebhan
Washington, DC
This image of my father’s aging process is a graphic portrayal of the mental and physical deterioration that often accompanies the end of life—an aspect of the aging process that is not often discussed. The debilitating effect of dementia and loss of control over one’s body is hidden.
Image: Medical Appointments (Giclée print)

Eric Redetzke
Portland, OR
I am susceptible to images that facilitate desire and am deeply influenced by popular culture. I idealize wealth, stability and glamour. I love the idea of wearing a business-suit, dating a super-model, and living in a state of fixed perfection. I know such things are ludicrous and phony, yet the experience of desire reveals genuine and complicated emotions. I also have a fascination with death and mortality. Why do we have to die? How do we live well and celebrate life in spite of our planned obsolescence? Where is the line between vitality and decay?
Image: Business Man #2

David Schulz
Brooklyn, NY
Mirage: A visual phenomenon that occurs with alternating layers of warm and cool air near the ground or water surface. Instead of traveling straight through the air, light is bent towards the cooler dense air resulting in a complicated path that evinces a strange distant object. Mirage is a project that considers these principles of light and
perception in relation to memory… I am interested in seeing how we traverse the expanse from chaos to recognition, a passage that echoes our own struggle for existence from nowhere.
Image: Untitled from Mirage Series (digital print)

Bradley Treadaway
Oak Ridge, NJ
“Resting Eyes” is a video that looks into the haze of memory; the dull sting of humid summer days passed under ancient live oaks. As memories of my grandfather fade, stories of his habits and personality struggle to live on. He is remembered for the love of his hammock and how he excused himself after dinner to “rest his eyes.
Image: Resting Eyes (video)

Tim Waldrop
Macomb, IL
The basis of my work is autobiographical in nature. I often breach standard topics like childhood, the home, marriage, family traditions, and life/death issues. I choose to illustrate these ideas by focusing on symbolic motifs which have the potential for several levels of interpretation at once.
Image: Pulse (enamel on panel)

Margaret Weigel
Medford, MA
I love photography both for its power to reveal and to obscure, and negotiating these two polarities is at the heart of its powerful appeal for me… I snapped hundreds of pictures of Big Dig construction sites in South Boston: bits of discarded wood, numerous empty water bottles, broken equipment and abandoned debris. I then built several mandalas, metaphoric maps of the world.
Image: Fallen (digital print)

Kaitlin Wilson-Bryant
Rochester, NY
These images represent the emergence of something that has been buried. The light functions as a spotlight to reveal the submerged forms of hands… they are the hands of my parents. They represent a legacy and an implied history…This series speaks to not only my parent’s mortality but my own.
Image: Father, Cadence Series (archival inkjet print)

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