MARCH 1 - JUNE 1, 2019
INTERACTIVE STUDIO DAYS: EVERY FRIDAY STARTING APRIL 12
I am a musician and multi-media artist specializing in sound art, installations, compositions, and performances inspired by the implications and consequences of technological objects and practices. My work examines the incessant acceleration of technology and media production, its ownership, and the waste it produces. My aim is not only rethinking the way technological objects can be used, but how their meaning changes when this happens.
My work plays with this relationship of use, form, and meaning by drawing attention to uncanny or unseen qualities that lurk within otherwise commonplace objects. These can take the form of tranquil soundscape performances, or more jarring sculptural interventions. In my solo performances, I create electronic feedback soundscapes using only discarded, obsolete and/or broken technology. The relationship between the objects' disheveled, sprawling physical appearance is often at odds with the sounds they create. The focus on the devices material properties is deliberate - promoting the association of compelling sound with objects that would likely be considered technological trash.
In sum, my work seeks to connect aural aesthetics with technocultural meaning, and the effects of decay, obsolescence and consumption. In the rush to get the newest and shiniest things, the less new and less shiny are cast off: today's hot commodity is often tomorrow's garbage. I seek a new solidarity with these abandoned objects and the hands that put them together - an aesthetic borne of a respectful cooperation.
Residency Exhibition: June 4-June 9, 2019
DECEMBER 5, 2018 - FEBRUARY 28, 2019
I make paintings and sculptures about living by the ocean, forcing things together and being in love...I guess.
My work highlights vulnerable moments of intimacy and day-to-day failures with resistance and humor. Figures are unarmed physically and emotionally as I both respect and poke fun at the melodrama of sadness, anxiety, and affection. They turn away, slump, and cover their faces, trying to defy exposure along with the elements of sun, gusts of wind, or heartache.
I’ve developed a personal mythology of symbols that I repeat: a spilling water glass (even less serious that spilt milk) or a sunburn (of course I got sunburned) show how silly and delicate we all are. Each figure is alone, even with indicators of someone nearby like a hand reaching into the frame, a shadow, or a cell phone. Is a text message or a crowded shore of San Diego beach really company? However, embracing this public solitude can be a source of almost radical power.
Sculpturally the actions of wrapping, connecting, or bending are made solid. This offers a more immediate/physical way to explore relationships between two masses (will adding this thing to that thing make it stronger or make it fall over?) Using a similar visual language, they mirror the precarious strength and vulnerability of the figures in my paintings and instead of falling apart; groups of small objects stand their ground.
RESIDENCY EXHIBITION: Another Sunburn
March 7-10, 2019
SEPTEMBER 1 - NOVEMBER 30, 2018
Xuchi Naungayan Eggleton earned a BFA in Painting, Printmaking, & Photography from San Diego State University and an MFA in Painting from the San Francisco Art Institute. Her work has been exhibited throughout California and she is an art instructor at several regional colleges.
Her residency in Balboa Park aims to create recognizable patterns seen in many traditional fiber arts throughout cultures. Labor, memory, autobiography are explored and actively engaged with the public, while exploring dollar store consumerism, social class and personal narrative.
Ranging from sculpture and drawing to installation, Eggleton’s projects are material responsive and vary with the projects in mind. Interactivity and blurring the lines of maker and viewer help navigate her projects, their use, and ultimate functionality. The audience becomes her collaborator in a creative art experience that puts the viewer in an active role.
Residency Exhibition: A Liminal Situation
November 27-December 2, 2018
JUNE 1 - AUGUST 31, 2018
SDAI is pleased to welcome Flavia D’Urso as its first artist-in-residence for 2018. Flavia D’Urso completed her MFA at California College of the Arts in San Francisco, CA and earned her B.S. in Studio Art and Psychology from New York’s Skidmore College. She also created works during a residency at the Gerrit Rietveld Academie in Amsterdam.Artist Statement:
My work centers around investigations of how bodies move through, become, and unbecome in contemporary physical and emotional space. I grapple with the manifestations of the non-normative body, particularly queer female body, through object and image making; working in video, installation, and sculpture. In my studio, I create hybrid bodily forms to enact the potential of real and imagined spaces of growth, survival and becoming in a fragmented reality.
I work with bodily materials such as salt, bone meal, blood meal and horse hair contemporaneously with latex, ceramic, video displayed on monitors, building foam, or other materials to create bodies that act as complex assemblages that animate potential ways of being/becoming and also embrace the rich territory of failure, leakage, breakage and seams as inherently queer and feminized strategies of survival. I pull from queer, animal, and feminist theory and am also influenced by myth around hybrid creatures that can be appropriated and remade in a current context. The bodies I make are meant to be tricky and sticky. Something or someone that is both soft and bristly. Far away but gushing everywhere at your feet. The sensation of feeling your own body when looking at another body.
EXHIBITION: to reach for another (Touch Points)
August 15-19, 2018