The exhibition title is a statement of testimony from the position of a material witness while simultaneously invoking the body of the witness—living and breathing, therefore a challenge to notions of assumed neutrality.
The materials allow a certain freedom, creating work that is intentional and purposeful in its happenstance.
The installation will feature large soft sculptures, employing boldly expressive lettering with stark, blunt immediacy that challenges the weight of our world with naked solidarity.
Ranging in mediums from exposures on gelatin silver photo paper, to reclaimed wood lath constructions, and layered painting and drawing on canvas, these three artists use unique vocabularies to compose reflections of individual experience.
Employing archival material–such as the 500-page dossier compiled by the FBI surveilling her father, Rodney Barnette, during his time in the Black Panther Party–the artist wields the personal nature of generational inheritance to inflect international political struggle with urgency, collapsing temporal distinctions of past and present.
Cheung’s paintings repel ideas of heteronormativity and stress the idea that representation matters. The ambiguous characters, undefinable by race or gender, are instead typified by the joy that they share, and the light they spark in one another.
She works in painting, sculpture, installation, and photography, and with a wide range of materials including bowling balls, discarded objects, and folded tar paper.