Lewis Hammond, Hannah Quinlan & Rosie Hastings, Frieda Toranzo Jaeger
Arcadia Missa, London (H29)
The concept for the booth was borne out of a quote by philosopher Julia Kristeva: ‘Instead of sounding himself as to his “being,” he does so concerning his place: “Where am I?” instead of “Who am I?” For the space that engrosses the deject, the excluded, is never one, nor homogeneous, nor totalizable, but essentially divisible, foldable, and catastrophic’.
‘Where’ is always pertinent when considering the experience of alienation. Reflecting site as opposed to body allows to turn the lens of critique onto that which is homogeneous, what creates the fertile ground to make some ‘others’. It moves the issue away from the body of the othered. Simultaneously, ‘where’ also provides the hope for a place of safety, even liberation (for a moment): it holds potentialities. This examination of space and place is present in the practices of the three artists presented by Aracadia Missa.
In Lewis Hammond’s (b. 1987, Wolverhampton) paintings, bodies are enclosed in confined and fragmented spaces that reflect a psychological state: that of a subject grappling with a sense of otherness and struggling with self-identification. Hannah Quinlan & Rosie Hastings (b. 1991, Newcastle/ London) investigate queer spaces such as the gay bar to explore queer modes of sociality and resistance against socio-political structures. In Frieda Toranzo Jaeger’s (b. 1988, Mexico City) paintings, space is always a metaphor; car interiors are a primary motif used to explore notions of alienation under capitalism, conventional assignations of masculinity and femininity as well as the history of painting.