Statement:

eftovers explores the premise of materials, stories, and ecologies that are unconsumed, undesirable, or unloved and re-birthed through the care of the artist.

Roots from trees in upstate New York are scavenged by Motohiro Takeda with the help of his children and blackened with the traditional shou sugi ban technique, becoming totemic installations.\\\

Anna-Ting Moller uses symbiotic cultures of bacteria and yeast intended for Kombucha-making and grows the living membrane in her studio.

She harvests the skin of this membrane as the surface for her sculptures and wall works. She calls this material, “mother”, a reference to her own displacement from China to Sweden as a child while acknowledging the replicant nature of her primary material. Her forms are bodily and offal, recalling a torn limb or a butcher’s cut.

In all the works, the artist as birther, regenerator, spawner of things in the world acts as a red thread – gathering traces of the overlooked and the invisible in order to build new worlds. Pacifico Silano sifts through discarded gay porn magazines from the 70s and 80s as his primary material.

Tear sheets from these archives are blown up, a gaze or a uniform gets rendered into a psychological object cast in metal, their meaning charged with Pacifico’s own relationship to the source material and his care in dissecting their pervasive symbols.

Erick Hernandez’s sculpture of an ambiguous hybrid dog/lion watches over his painting, its tail fashioned from a bundle of Erick’s own hair sheared off and now animated as part of a personal mythology.

There is a direct lineage between the artist and artwork, its existence spawned not only from the imaginary but indexed to the body.