(un)Veil



(un)Veil seeks to uncover, overcome and investigate that which doesn't immediately meet the eye. Relating strongly to the tension between transience and permanence, the show aims to lend embodiment to those things that do not often endure.
Curated by Jeannie Dale, Jon Feng, Sam Rodgers, Leighah Scully





Featured Artists
BARD (MIT List Center)
Jon Feng (Harvard Art Museums)  | website
Janella Mele (ICA Boston) | instagram | website
Denver Nuckolls (ICA Boston) | instagram | website
Mariana Rey (ICA Boston) | instagram
Erin Rosengren (ICA Boston) | instagram

Hannah Rust (MassArt Art Museum) | instagram
Sudarshan Sahni (National Gallery of Modern Art in Delhi, India)
Monica Srivastava (ICA Boston) | instagram | website










One for Sadness, 2020
Acrylic paint, feathers, and gauze on canvas
12 x 10in
BARD

From a "Nursery Rhyme" series, "One for Sadness" explores childhood, superstition, and the corvid nursery rhyme itself.













Gifted pastels on foam core
14 x 16in
Janella Mele

Created while reflecting on growing up near the ocean.


Dream Displacement, 2022
white ink on black Canson paper
21 x 25in
Janella Mele







Original etching reimagined as tattoo Tattoo,  2017
3 tight needle, Bishop rotary machine, fusion black ink / Copper Etching
Janella Mele

Monsters Dance tattoo for Elizabeth based on etching, 2022
Etching: 11 x 14in / Tattoo: 4 x 6in ~ 2.5 hours
Janella Mele













Self Portrait, 2022
Acrylic, watercolor, gouache, and colored pencils on paper
18 x 24in
Hannah Rust


Garden Party (I Don't Know About You, But...), 2022
Oil, gouache, and glitter glue on cardboard
48 x 48in
Hannah Rust













Paper Jali I, 2021
Gouache on paper
11 x 14in
Monica Srivastava







Paper Jali 2, 2021
Gouache on paper
11 x 14in
Monica Srivastava



Paper Jali 3, 2021
Gouache on paper
11 x 14in
Monica Srivastava



This series of three paper works explore the intersection of identity with portraiture and architecture. Patterned screens, called jalis, were built in Mughal India to circulate light and air through an architectural space while also granting privacy to those inside. I use them now in my work in a similar way. They are delicate, made of paper, and strive to hide the figure behind them. In theory, they are permeable; the figure could, in the world of paint, come through the jali. If you look long enough, she does. But the jali serves as a way to hide the real me. It is the thing that separates the real me from perception.










Fog 1, 2022
Digital Photography and Text
Mariana Rey


Fog 2, 2022
Digital Photography and Text
Mariana Rey






Fog 3, 2022
Digital Photography and Text
Mariana Rey

Fog explores the materiality of crying as a veil that can cover and protect while also distorting reality resulting in haziness.













B+W Dino, 2022
Video by Janella Mele
Audio by Denver Nuckolls













thanks for being cool, 2021 
oil on canvas paper
9 x 7.5in
Erin Rosengren













Wiper Fluid, 2022 
acrylic on canvas
12 x 16in
Jon Feng


Crash, 2022
acrylic on canvas
12 x 16in
Jon Feng













Space D-17, 2019
Acrylic on canvas
24 x 24in
Sudarshan Sahni


Space D-21, 2020
Acrylic on canvas
24 x 24in
Sudarshan Sahni







Space D-28, 2021
Acrylic on canvas
24 x 24in
Sudarshan Sahni




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