Liminal States

Projekt722 is pleased to announce the opening of Liminal States on Saturday, December 14. There will be a reception from 6-8pm, and all are welcome to attend. This group exhibition features work by Michelle Levy, Herbert Lacsina, Marianna de Nadal, Clarinda Mac Low, William Tucci, and Kara J. Schmidt who consider states of being that exist between the typically disparate concepts of belief and cynicism, trash and treasure, virtual and reality, and the public and private in the form of sculpture, video and installation. This exhibition was curated by Maggie Downing and Adrienne Meraz, both M.A. candidates in Art History at CCNY, who selected these artists from the new Digital and Interdisciplinary Art Practice M.F.A. program at CCNY, a program which examines the relationship between technology and art.

Michelle Levy’s Color Energy Field videos mimic new age meditation videos. Although she imitates, she does not satirize, choosing instead to explore a state between cynicism and belief, beckoning the viewer to suspend their disbelief.

In the series No Bad Angles, Herbert Lacsina explores the concept of self-curation. These “selfie” videos explore the multiplicity of the lived experience and the online personality, constructed for consumption and judgment by others.

Marianna de Nadal’s work considers the value of the immersive digital experience. Her Smells Archive aims to provide a sensory experience triggered by visual prompts. In doing so, she questions whether the strong relationship between smell and memory is reciprocal.

Free the Orphans, by Clarinda Mac Low, unearths texts that are under copyright but whose copyright owners cannot be located. The texts thus exist in a state of limbo between being privately owned and in the public domain. Mac Low brings to life what otherwise has fallen through the cracks of legality.

William Tucci captures the spirit of sound by transforming discarded materials into kinetic sculpture. With his work High Fidelity, Tucci considers the importance of preservation and the physicality of music.

Kara J. Schmidt’s “parasitic” yarn pieces are site-specific installations that investigate the cross-sections of urbanism, gentrification, and architecture by identifying and transforming unused spaces into geometric structures.