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.
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.