TEMPORARY ROOM

Mind Form

May 16-30, 2020

        Ann Walsh
        Ashton S. Phillips
        Carolyn Forrester
        Colleen Harkins
        Ella Snow
        Gizem Oktay
        Katty Huertas
        Peishan Huang
        Sarabel Santos-Negrón
        Stephanie Garon
        Taraneh Mosadegh

Im.migration

May 1-15, 2020

        Ben Paljor Chatag
        Bingyi Liu
        Ian Miyamura
        Jaejoon Jang
        Lehna Huie
        Seungtack Lim       
        Sun Woo Jung
        Thiang Uk
        Tianran Qu
        Tinglan Huang
        Vian Nguyen
        YunKyoung Cho

Mark

Carolyn Forrester

MFA in Hoffberger, 2020
︎ cforrester@mica.edu
︎ carolynforrester.com


The underlying preoccupation of my work is the confrontation between different modes of image production that we are living through and the implications of that confrontation for our understanding of ourselves. What is painting in this new context? What is expected of me, the painter? I thematize the demands placed upon me, as an artist and as a subject, to perform a self: I distribute my resume, I insert biographical content into my work, I leave a trace of me, the artist, within the painting in the form of my picture. If these paintings have an ostensible subject, it is a felt one, the problems of deciding how to live and how to act and how to negotiate the various traps that lie in wait: if you can’t hang with the guys, what is your guise? I see these questions as running in parallel to the problem of being built and defined by metadata, of being traceable and construct-able through images, of having all your options proscribed and prescribed.

The paintings hesitate between different meanings because they are too neurotic to make a choice. They are involved in a constant negotiation with the viewer over their reading; the paintings open themselves up differently depending on the viewer’s angle of approach. They are aware of the response the viewer has to different types of paintings, and they will try to give you what you want. Sometimes my paintings are poor imitations of other types of paintings, as if to try them on for size. I am not interested in pictorial mastery; I am masquerading as a painter.


Advice, 2019
Oil, digital print, photographs, wooden table leg on canvas
31.5x30 inches




Resume Painting Five, 2020
Oil, acrylic and photograph on canvas
22x17 inches






Red Herring, 2020
Oil and photographs on canvas
60x50 inches

Dirty Sulker, 2019
Oil, acrylic, photographs on fabrics
11x14.5 inches




Resume Painting Four, 2020
Oil and acrylic on canvas
22x17 inches


Mark