Hugh Hayden

Siwoong Park

Untitled, 2017 Porcelain, outdoor installation 4 x 7.5 x 3.5”

Residue, 2017 Scratched-off powder from discarded lottery tickets, evaporating dish 4.5” diameter x 1” height 3 minutes, 2018 Digital printed papers, wood pallet, string lights 14 x 22 x 45.5”

Sky Riggs

I’m an NY-based painter and songwriter with a focus on duality and bilateral asymmetry. I’ve started calling doubletalk the aspect of multiple values to a statement, some of which are unintented. An analytic mind can move only so fast, but makes choices which exceed that in nearly every utterance. I ask, “how are you holding up?” and its primary meaning is clear - that I’m checking in on you. But I typed that, with my hands, hence ‘holding’. And I put ‘up’ in the last place because I’m an optimist. Those choices were made without reason, they were beyond the intention of the statement.

In conversation I started noticing the second, third, fourth meanings. It is paranoia to attribute those to the speaker’s intention but foolish to dismiss them as coincidence. They are there, despite intention. And most interestingly they are often unknown to the persons uttering them. A dinner conversation analyzed through its nth meanings is usually a different flavor than at face value. And analyzed as such, usually contains very relevant, cohesive information (as opposed to, say, isolated absurdities).

The most familiar part of our mind, which we need to inhabit this treacherous world is neurotic and calculating. It is right next to us, right here - the frame of reference we see everything logical through. This is the same part which makes decisions about what primary meanings we want to express. But in choosing just the particular expression there is another set of influences, clearly. How else could “I” say something I didn’t mean to? To let on a second or third meaning which I’m unaware of?

Sky Riggs

Untitled, 2017 Oil and acrylic on wood 24 x 16” Untitled, 2017 Oil and acrylic on wood 24 x 16”

Ana Rivera

Ana Rivera (b. Bogotá, 1988) is an artist, musician, and art historian currently based in New York City. She received a BA in Art History from the Universidad de los Andes in 2013. Since 2012 she has worked as co-founder and collaborator of several art collectives and artist-run spaces focused on generating alternative platforms for the production, exhibition, and discussion of emerging art and music in Bogotá. Ana Rivera’s work lies at the intersection between drawing, sculpture and writing, and is concerned with narrative, translation, representations of systems of information and how they sustain structures of historic and institutional power. Her practice frequently circles around narratives of art history, the mediums and formats that are intrinsic to them, the power held in the translation of these narratives, as well as the empty frames that are gained in the distribution of information.