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ATA Window Gallery: “I Long for You Without End”, Angela Simione

ATA Window Gallery
Opening Reception: Wednesday, March 11, 7-9pm
Angela Simione, I LONG FOR YOU WITHOUT END

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She got sick when I was 29. When I was thirty, she died. It was January. Cold. I curled up with my

crochet hook and I kept my hands busy.

Looking back, I see it as an attempt at repair; each stitch, an act of healing. A simultaneous meditation

and distraction.
In the weeks following her death, I would wake up crying; a mess of sadness. I hid myself. I didn’t want

anyone to see me cry but my confused despair was impossible to hide. I was ashamed of my red eyes.

For as sympathetic as people were, they were equally uncomfortable. I was deep within the landscape

of my mother’s death (and the early confrontation with my own mortality) and I was in it alone.

There are no spaces for these conversations in our culture. No one wants to talk about death over

morning coffee. Or afternoon coffee. Or after-dinner drinks. And after a few weeks, there is a

collective pressure for one to bounce back, for the grieving to subside, for a smile to flicker and pull at

the corners of one’s cheeks again. The pressure to resume one’s previous dance, to return to business

as usual is torturous. I couldn’t stand it. Still, I wore dark sunglasses and waterproof mascara. I tried

hard to contain the mess of my sadness. I tried to control my tears. Sometimes, I would suddenly start

crying on the street. Never wailing or sobbing, no bunched up red face, just tears silently running from

my eyes. The dark glasses and waterproof mascara were my preventative maintenance. They helped

me prevent myself from making other people uncomfortable. They helped me prevent my mother’s

death from spilling on to their lives, such an unwelcome topic, such an inconvenient contagion. They

prevented me from embarrassing myself. Nevertheless, the tears came. An overflow. A mode of

expression that wouldn’t be denied. A supplemental voice.
Eventually, I got angry about the silence but I didn’t know where to go to say the things I needed to say.

I didn’t know where to go to find people who were interested in talking about death and its aftermath.

Behind my dark glasses, I was stoic. Straight-faced. I marched across this city silently, clad in black and

smile-less. I noticed that no matter what I wore or how I looked, someone was bound to notice me. It

was then that I discovered the power of my body to speak for me, to create an area for discussion and

exchange of ideas. My personal billboard. My own private gallery wall. My mobile wailing wall.

Taking phrases from my personal diary, lines from deeply loved songs, and scattered bits of my own

poetry, I began to speak of my mother’s death. I embedded my longing for her in the clothing I wore. I

broadcasted my anguish, my confusion, my loss, my unbelievable anger, and my longing for a reckoning.

I emblazoned my feelings across handmade sweaters, each stitch bearing witness to my silent suffering.

They spoke the words that I couldn’t say without completely falling apart.
Now, 4 years later, the repair that I was attempting feels as if it has largely taken place. Presented at

ATA in their entirely are my “sweaters of death”, a fragmented poem of sorts, my “work of mourning”.

Angela Simione

ATA Window Gallery: Kit Young, Believing is Seeing

ATA Window Gallery presents the opening reception for Kit Young, Believing is Seeing, February 6th, 7-9pm.
ATA 1

I am is an interdisciplinary multimedia artist working in the combined genres of video,

sound, kinetic sculpture, and performance. I also sketch, draw and journal to keep my

eye­ to­ hand connection fresh, to catalogue ideas and images, and to keep some roots in

traditional methods of production.

In my practice of art, I hold several lines of inquiry in mind:

Can the elements of a work of art be as diverse as possible while still allowing the piece

to function as a whole?

How do the mechanisms of our perception determine our reality?

What is the relationship between art and reality, given the crucial role of perceptual

mechanisms in producing what we take to be reality?

How do our systems of belief and our media­ saturated environment distort and

transform what we perceive?

What is the relationship between art and democracy, historically and currently?

Why is the art world still so lacking in diversity and integration?

What place can ethics and mindfulness have in the practice of art?

My art is improvisational and explorative. I enjoy using compositional systems of loose

structures that can respond to chance and chaos. I also appreciate the way that humor

and play loosen our rigid reactions and assumptions, allowing us to re­experience reality

in unexpected and liberating ways.

“NOMADSIGHT, A JOURNEY AROUND THE WORLD” – ATA Gallery Opening March 2015

Saharas Face-2 (1)
” A NOMAD EYE”
Allen Myers is a unique and talented photographer, film maker, writer and humanitarian. On January 15th, 2006, he made a life changing decision to change something in the world. With a backpack of clothes, a camera and a journal he headed to Turino Italy which was the first of many destinations. The artistry and vision of his work takes shape as he weaves himself into the communities in which he discovers.

He works with, lives with and feels with the peoples he later captures on film and in stories. Nomadsight is a temporary street art instalment of world photography, it moves from city to city around the world and in this manner grows in its collection.

Each exhibit and arrival into a new place is also filmed, with the final film being edited to music from a local musician. The film serves as a digital diary of that time and place.  This project reminds us of some of the fundamental pieces we all share in across culture, country and religion.

This show has received several awards had been selected on 2014 San Francisco Pictoclick Festival and with an honorable mentions at Lucie Awards the same year.

We feel honored to have this exhibition along March 2015 where we Allen Myers AKA Nomadsight will be with us on the Opening night completely available to talk this amazing project and share very unique and interesting stories behind of the world of photography.

ATA Gallery – 992 Valencia St

OPENING: March 4th 2015 from 6-9pm

gallery@atasite.org

www.nomadsight.com

ATA Window Gallery: Kit Young, opening reception

ATA Window Gallery presents the opening reception for Kit Young, Believing is Seeing, February 6th, 7-9pm.
ATA 1

I am is an interdisciplinary multimedia artist working in the combined genres of video,

sound, kinetic sculpture, and performance. I also sketch, draw and journal to keep my

eye­ to­ hand connection fresh, to catalogue ideas and images, and to keep some roots in

traditional methods of production.

In my practice of art, I hold several lines of inquiry in mind:

Can the elements of a work of art be as diverse as possible while still allowing the piece

to function as a whole?

How do the mechanisms of our perception determine our reality?

What is the relationship between art and reality, given the crucial role of perceptual

mechanisms in producing what we take to be reality?

How do our systems of belief and our media­ saturated environment distort and

transform what we perceive?

What is the relationship between art and democracy, historically and currently?

Why is the art world still so lacking in diversity and integration?

What place can ethics and mindfulness have in the practice of art?

My art is improvisational and explorative. I enjoy using compositional systems of loose

structures that can respond to chance and chaos. I also appreciate the way that humor

and play loosen our rigid reactions and assumptions, allowing us to re­experience reality

in unexpected and liberating ways.

ATA Window Gallery Opening Reception: Gray Tolhurst

ATA Window Gallery

Gray Tolhurst

Opening Reception: January 14th, 6:30-8:30 PM

Gray Tolhurst is a writer/artist currently based in San Francisco, CA. His works utilize a synthesis of outmoded and modern technology in order to bridge the past and the future through the medium of the present. In this way, the works are both memories and premonitions. He creates typewriter-based drawings and utilizes Super-8 film stock (modified through hand-painting and scratching) to create films and prints.www.graytolhurst.com
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