In the two-person exhibition Twice in a While, Cara Levine and Jess Wheelock each explore human limitations by creating endurance and effort-based scenarios. In some works these scenarios are performed by the artist, while in others, they are experienced by the viewer. The attempts to understand or master both banal and grand external forces are met with struggle and often failure - at times eliciting subtle moments of humor. Using perceptual trickery and sets of constraints, Levine and Wheelock reveal the interdependence between objects, ourselves, and the people around us.
Working across sculpture, photography, and video, Cara Levine explores the intersections of the physical, metaphysical, traumatic and illusionary. A personal history with chronic pain informs her perception of spatial experience and investment in the prosthetic. Her new video work, Re-Mothering: What is Love's Perspective? offers a visual metaphor for the dissociative, physical and mental paralysis experienced during a migraine - inescapable pain where daily tasks become daunting, and seemingly insurmountable. Levine’s longstanding practice of yoga and meditation underlies her understanding of the mind as a portal, and an upbringing in Los Angeles feeds her interests in special effects. Drawing on these influences, she combines these elements to create and distill illusions to their most essential parts - maintaining the initial marvel while exposing the trick.
Similarly, Jess Wheelock’s work creates illusory, fantastical moments by amplifying seemingly banal actions. Utilizing video, everyday objects, electronics, and programming/code, she creates interactive pieces wherein the viewer’s actions influence the outcomes of the work. Wheelock’s work presents situations, such as the controlled reversal of an avalanche in the work Pushing Back Avalanches that involve struggle, anxiety, and pressure that can be temporarily relieved with the help of a participant.
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Working across sculpture, photography, and video, Cara Levine explores the intersections of the physical, metaphysical, traumatic and illusionary. A personal history with chronic pain informs her perception of spatial experience and investment in the prosthetic. Her new video work, Re-Mothering: What is Love's Perspective? offers a visual metaphor for the dissociative, physical and mental paralysis experienced during a migraine - inescapable pain where daily tasks become daunting, and seemingly insurmountable. Levine’s longstanding practice of yoga and meditation underlies her understanding of the mind as a portal, and an upbringing in Los Angeles feeds her interests in special effects. Drawing on these influences, she combines these elements to create and distill illusions to their most essential parts - maintaining the initial marvel while exposing the trick.
Similarly, Jess Wheelock’s work creates illusory, fantastical moments by amplifying seemingly banal actions. Utilizing video, everyday objects, electronics, and programming/code, she creates interactive pieces wherein the viewer’s actions influence the outcomes of the work. Wheelock’s work presents situations, such as the controlled reversal of an avalanche in the work Pushing Back Avalanches that involve struggle, anxiety, and pressure that can be temporarily relieved with the help of a participant.
In the two-person exhibition Twice in a While, Cara Levine and Jess Wheelock each explore human limitations by creating endurance and effort-based scenarios. In some works these scenarios are performed by the artist, while in others, they are experienced by the viewer. The attempts to understand or master both banal and grand external forces are met with struggle and often failure - at times eliciting subtle moments of humor. Using perceptual trickery and sets of constraints, Levine and Wheelock reveal the interdependence between objects, ourselves, and the people around us.
Working across sculpture, photography, and video, Cara Levine explores the intersections of the physical, metaphysical, traumatic and illusionary. A personal history with chronic pain informs her perception of spatial experience and investment in the prosthetic. Her new video work, Re-Mothering: What is Love's Perspective? offers a visual metaphor for the dissociative, physical and mental paralysis experienced during a migraine - inescapable pain where daily tasks become daunting, and seemingly insurmountable. Levine’s longstanding practice of yoga and meditation underlies her understanding of the mind as a portal, and an upbringing in Los Angeles feeds her interests in special effects. Drawing on these influences, she combines these elements to create and distill illusions to their most essential parts - maintaining the initial marvel while exposing the trick.
Similarly, Jess Wheelock’s work creates illusory, fantastical moments by amplifying seemingly banal actions. Utilizing video, everyday objects, electronics, and programming/code, she creates interactive pieces wherein the viewer’s actions influence the outcomes of the work. Wheelock’s work presents situations, such as the controlled reversal of an avalanche in the work Pushing Back Avalanches that involve struggle, anxiety, and pressure that can be temporarily relieved with the help of a participant.
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Working across sculpture, photography, and video, Cara Levine explores the intersections of the physical, metaphysical, traumatic and illusionary. A personal history with chronic pain informs her perception of spatial experience and investment in the prosthetic. Her new video work, Re-Mothering: What is Love's Perspective? offers a visual metaphor for the dissociative, physical and mental paralysis experienced during a migraine - inescapable pain where daily tasks become daunting, and seemingly insurmountable. Levine’s longstanding practice of yoga and meditation underlies her understanding of the mind as a portal, and an upbringing in Los Angeles feeds her interests in special effects. Drawing on these influences, she combines these elements to create and distill illusions to their most essential parts - maintaining the initial marvel while exposing the trick.
Similarly, Jess Wheelock’s work creates illusory, fantastical moments by amplifying seemingly banal actions. Utilizing video, everyday objects, electronics, and programming/code, she creates interactive pieces wherein the viewer’s actions influence the outcomes of the work. Wheelock’s work presents situations, such as the controlled reversal of an avalanche in the work Pushing Back Avalanches that involve struggle, anxiety, and pressure that can be temporarily relieved with the help of a participant.
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300 Jefferson Street, Oakland, CA 94607
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