Over Here Not Yet presents video-based installations by Shaghayegh Cyrous and Renée Rhodes. Both artists explore the literal and psychological ways digital technologies can expand, obscure, limit, and complicate our contemporary experience of place and our capacity for connection. The exhibition investigates the ways we try and try again to establish closeness and connection with the people and places we call home.
For Cyrous’s installation, The Closest I Could Get to the Sun, she creates an immersive environment in which viewers watch and listen to a Skype video conversation between the artist in San Francisco and her mother in Tehran, Iran. Her mother walks around her garden at her home, describing it for her daughter who can not return home due to travel restrictions in the United States and political threats in Iran. The work explores the intersection of hopeful potential and inherent lack in our ongoing attempts to substitute digital proximity for physical presence.
In Rhodes’s Incorporations series, the artist attempts to erase the separation between her body and the natural landscape through an exercise in visual camouflage. Though her skin can not chameleon, Rhodes employs printed fabrics, measured movements, and digital imaging tools to mimic the colors and contours of the horizon line. She invites viewers to trace the visual and physical gaps between her body and the space she inhabits, drawing attention to moments of unavoidable failure and the ultimate impossibility of a perfect connection.
Both artists in Over Here Not Yet reflect on the ways that digital technologies influence our contemporary experience of place and home. Central to the works in the exhibition is a sense of effort, of trying to be near, of, and in a place, but never fully succeeding. At times optimistic and at times distressing, the works reflect on familiar places of disjunction between attempt and failure, closeness and distance, which are shaped by the technology of our times.
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For Cyrous’s installation, The Closest I Could Get to the Sun, she creates an immersive environment in which viewers watch and listen to a Skype video conversation between the artist in San Francisco and her mother in Tehran, Iran. Her mother walks around her garden at her home, describing it for her daughter who can not return home due to travel restrictions in the United States and political threats in Iran. The work explores the intersection of hopeful potential and inherent lack in our ongoing attempts to substitute digital proximity for physical presence.
In Rhodes’s Incorporations series, the artist attempts to erase the separation between her body and the natural landscape through an exercise in visual camouflage. Though her skin can not chameleon, Rhodes employs printed fabrics, measured movements, and digital imaging tools to mimic the colors and contours of the horizon line. She invites viewers to trace the visual and physical gaps between her body and the space she inhabits, drawing attention to moments of unavoidable failure and the ultimate impossibility of a perfect connection.
Both artists in Over Here Not Yet reflect on the ways that digital technologies influence our contemporary experience of place and home. Central to the works in the exhibition is a sense of effort, of trying to be near, of, and in a place, but never fully succeeding. At times optimistic and at times distressing, the works reflect on familiar places of disjunction between attempt and failure, closeness and distance, which are shaped by the technology of our times.
Over Here Not Yet presents video-based installations by Shaghayegh Cyrous and Renée Rhodes. Both artists explore the literal and psychological ways digital technologies can expand, obscure, limit, and complicate our contemporary experience of place and our capacity for connection. The exhibition investigates the ways we try and try again to establish closeness and connection with the people and places we call home.
For Cyrous’s installation, The Closest I Could Get to the Sun, she creates an immersive environment in which viewers watch and listen to a Skype video conversation between the artist in San Francisco and her mother in Tehran, Iran. Her mother walks around her garden at her home, describing it for her daughter who can not return home due to travel restrictions in the United States and political threats in Iran. The work explores the intersection of hopeful potential and inherent lack in our ongoing attempts to substitute digital proximity for physical presence.
In Rhodes’s Incorporations series, the artist attempts to erase the separation between her body and the natural landscape through an exercise in visual camouflage. Though her skin can not chameleon, Rhodes employs printed fabrics, measured movements, and digital imaging tools to mimic the colors and contours of the horizon line. She invites viewers to trace the visual and physical gaps between her body and the space she inhabits, drawing attention to moments of unavoidable failure and the ultimate impossibility of a perfect connection.
Both artists in Over Here Not Yet reflect on the ways that digital technologies influence our contemporary experience of place and home. Central to the works in the exhibition is a sense of effort, of trying to be near, of, and in a place, but never fully succeeding. At times optimistic and at times distressing, the works reflect on familiar places of disjunction between attempt and failure, closeness and distance, which are shaped by the technology of our times.
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For Cyrous’s installation, The Closest I Could Get to the Sun, she creates an immersive environment in which viewers watch and listen to a Skype video conversation between the artist in San Francisco and her mother in Tehran, Iran. Her mother walks around her garden at her home, describing it for her daughter who can not return home due to travel restrictions in the United States and political threats in Iran. The work explores the intersection of hopeful potential and inherent lack in our ongoing attempts to substitute digital proximity for physical presence.
In Rhodes’s Incorporations series, the artist attempts to erase the separation between her body and the natural landscape through an exercise in visual camouflage. Though her skin can not chameleon, Rhodes employs printed fabrics, measured movements, and digital imaging tools to mimic the colors and contours of the horizon line. She invites viewers to trace the visual and physical gaps between her body and the space she inhabits, drawing attention to moments of unavoidable failure and the ultimate impossibility of a perfect connection.
Both artists in Over Here Not Yet reflect on the ways that digital technologies influence our contemporary experience of place and home. Central to the works in the exhibition is a sense of effort, of trying to be near, of, and in a place, but never fully succeeding. At times optimistic and at times distressing, the works reflect on familiar places of disjunction between attempt and failure, closeness and distance, which are shaped by the technology of our times.
show less
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300 Jefferson Street, Oakland, CA 94607
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