Art & Design

Ballast Projects Presents an All-Female Cast of Young Martyrs With ‘Mutability’

Art & Design

Ballast Projects Presents an All-Female Cast of Young Martyrs With ‘Mutability’

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Ballast Projects, in collaboration with curator Adam G. Mignanelli will mount a one-night show entitled Mutability, presenting a cacophonous dialogue between works rendered by an exclusively all-female cast. This young generation of artists – Hallberg, Moseley, Lee, and Shulze – heroically rupture the typical narrative of societal constructs primarily, to infuse bold acquisitions and eye-dotting patterns within their illustrative subversions.  The common thread interlocking all four bystanders is subtle, yet alarming within the breadth of abstract expressionist obstructions. Through their works they are able to unapologetically fend off the traditional dogmas of gender ideals that undeniably exists at the apex of today’s contemporary art; it’s a hypothetical face off between conventional and experimental taste, as applied to the ideals of form and function, conception and cunning game. Rather a disparity flourishes when sifting through the grids of these very paintings, sublayers begin to emerge that sheerly negate the basic constructs of “either/or” and “black/white” antagonistic poles, which unequivocally bring to the battle field the notion that conscious ostentation may coexist in tandem with subconscious discretion.

Far removed from the cyclic nature found within highly-restrained Realism art of the 1850s and the exaggerated emotional repertoire of Romanticism art, these martyrs gradually begin to unfold the traditions of modern painting by trading them off for collaboration and complicity; deconstructing and reconstructing yields a cohesive pure embodiment of visceral realists. Promptly, the bridge between the artist and curator becomes imperative because, in retrospect, the plight of the artist, in this context, is made up of an intricate compositional series of endless rippling waves that ideally cannot and should not ever be transfixed. Thus, Mignanelli is generously able to assemble an understandable short-lived stagnant spatial exhibit. Due to such a dynamic flux, this justifiably warrants a shelf-life turnover of only a single nocturnal Sunday at White Box Projects. Evidently, in regards to all temporal accounts, the works gravitate an upsurge of heightened gratification from the resistance that the showcase captivatingly attests to.