(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

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...), 2022Oil, 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.