Cati Bestard

Sam Cooke

(Black) +resistance -suicide, 2018 Urethane resin, epoxy clay, pigment, wood 48 x 32”

(Pink) +sex -violence, 2018 Urethane resin, epoxy clay, pigment, wood 48 x 32” Untitled 1, 2016 Digital video, sound 8:40 min

Untitled 2, 2017 Digital video, sound 11:18 min

Augustus Cross

Augustus Cross Mackenzie Born 1991 - Washington DC The paintings are about making pictures. In an attempt to capture specters of the mass imagination, they approach an industry of spectacle from behind the scenes, with a focus on reframing figures and arenas of Hollywood blockbusters as totemic idols and primordial landscapes in our collective experience. The work aims to give material weight to these apparitions in contrast to and in dialogue with their ethereal presence in digital media and the internet. This embodiment reflects the force that narratives of heroism, masculinity and capitalism exert on the symbolic order.

Taking the process of narrative production as a subject, I try to find faith in suspicion. We are creatures of belief, acting on spiritual impressions, and America is itself a series of mythologies. The contemporary speed and breadth of media makes idiots and experts of us all, as the flood of imagery makes mud out of meaning, and we become archaeologists in the trash heap. Mass becomes might in the media soup and truth or fiction is conditional on a sign’s role in a larger field of belief–a swamp ruled by an economy of advertising that manufactures consent, desire and demand. Is there any wonder at the popularity of such grim icons of nihilism, desperate fantasies of super heroics and the apocalyptic visions of an empire in decline? A cynical subject is a self assured subject. Why so serious?

Augustus Cross

The Colonists, 2017 Ink on collage 11 x 15” Battleship set, 2017 Ink, gouache on collage 12 x 9”

Hope st., 2016 Oil, marble dust on canvas 60 x 46”

Delphine Adama Fawundu

Delphine Adama Fawundu is a visual artist born in Brooklyn, NY to parents from Sierra Leone and Equatorial Guinea, West Africa. She is a co-author and founder of MFON: Women Photographers of the African Diaspora. Fawundu’s work has been exhibited at the Brooklyn Museum of Art, International Center of Photography, Steve Kasher Gallery, Rush Arts Gallery, Prizm Art Fair, Pulse Art Fair, the Lagos Photo Festival, Norton Museum of Art, Villa La Pietra (Italy) and the Museum of Contemporary Photography (Chicago). Her work is included in anthologies such as Africa Under the Prism: Contemporary African Photography from the Lagos Photo Festival, and Black: A Celebration of Black Culture Reflections in Black: A History of Black Photographers 1840 to the Present. She is a recent New York Foundation of the Arts Photography Fellow.

www.delphinefawundu.com Unfolding layers only to create new ones. Despite the interruptions, disruptions, interjections, and attempts at erasure -Our strength is in the syncopation. We shape shift but never die. Mami Wata, Yemaya, Amathaunta, Namaka, Makara, Acionna, Nu, Tefnut, Martuv, Yemoja, Olokun, Tlaoquetotontli Meet Me in Another World.