Kate Hoffman's
Dream Home series,
photographs taken from performative collage collaborations, has a malleable quality that emphasizes the viewer's own socio - political leanings; Samira Yamin's intricate patterns
of Islamic sacred geometries cut into TIME Magazine photos
of war oscillate between greater ambiguity and flirting with the didactic depending on the density
of the cuttings; Sandra de la Loza's
photographs of Stoner Spots underscore the politics
of leisure through the exploration
of pot - safe spaces, with a subtext
of the not - quite - yet absorbed by development; Scott Short's «abstract» paintings replicate multiple generations
of photocopying through the prism
of Walter Benjamin; and Suzanne Wright will exhibit a deftly humorous Étant donnés-esque collage alongside mandala targets — each salves, in their respective forms, for our tumultuous zeitgeist.
One day, I was looking at a
photograph of my childhood
home and realised what I'd been
dreaming about was the house — and my parents — as they'd been years earlier.