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"Sue Chenoweth: Real and Applied" at Modified Arts Is a Treasure Hunt
By By Kathleen Vanesian
Finally, the show features work by artist Simon Evans. His large collage, Shitty Heaven, creates a physical map to represent psychological experience. When you look closely at the collage, you see that it is constructed entirely of fragile layers of cellophane tape holding together intricate layers of paper scraps, receipts, and other detritus. Evans mines his personal memories in their minutiae. There is much whiting-out (correction fluid is listed as one of the materials), and erasing seems to be an important part of the process.
In fact, I'd say this is one of the unifying elements of the entire show — besides the works being driven by narrative and self-referential in nature — the visible re-considerations, editing, and do-overs are an important part of the process of the "stories" these artists are telling (uncovering). Trying and failing and trying again to get at some everyday human stuff — feelings of inadequacy, suspicion, mystery, and feelings of longing. Complete with plot twists, anecdotes, conceits, folly, and — in the case of Deb Sokolow — just a touch of barroom embellishment to maximize the entertainment.
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