A Thirst for Saltwater
May 25 - July 12, 2019
A Thirst for Saltwater a solo exhibition of new work by Lehuauakea Fernandez
Opening reception Saturday May 25, 2019 from 6:00 PM - 9:00 PM
Follow this link to order Lehuauakea’s new book A Thirst for Saltwater.
Informed by Lehuauakea Fernandez’s own background as a contemporary mixed-Native Hawaiian artist in the Pacific Northwest, A Thirst For Saltwater seeks to complicate the relationships inherently created through consumption, asking if what we easily devour is devouring us instead.
A Thirst for Saltwater reflects on Lehuauakea’s experiences during a recent artist residency and month-long backpacking trip with Signal Fire. Utilizing public lands to advocate for equitable access and protection of wild and open places, the southwest immersion residency granted artists access to occupied Indigenous lands in what is now widely considered to be the Four Corners of the American Southwest. Along with studying the Ancestral Puebloan empire on a series of interconnected site visits, residents engaged with contemporary Southwest artists, activists, and researchers.
Through organic sculpture and repetitive craft-based processes, Lehuauakea meditates on the region’s complex history of territorial dispute and exploitation. A Thirst for Saltwater draws on the tension between the fight to preserve traditional Indigenous land-based practices in the face of ongoing ecological destruction and extractive interests. Lehuauakea questions the roles that both gratitude and greed have played in these environmental narratives.
As we face ongoing global environmental decline and increasing threats to the preservation of marginalized place-based cultures, it is critical for Indigenous knowledge systems to adapt to these ecological changes if they are to be preserved at all. To this end, I believe my work can be explained by asking two questions:
- What have we learned from our lands and waters in the past, and chosen to forget?
- Are we willing to remember?
The gold oysters in A Pit In The Stomach are part of a special fundraising project for Dig Deep Water, a non-profit working to increase access to potable water on Diné lands.
Dig Deep Water is a community-managed utility alternative that works to bring clean hot and cold water to those in need through the building of new wells, in-home running water systems, and water delivery trucks.
For Diné families, access to clean water is extremely limited and expensive — over 40% don’t have running water or a toilet in their home — and individuals travel many hours to the nearest well. A Pit In The Stomach addresses topics of consumption and greed and their effects on Southwest Indigenous communities and lands. In response, I’m using this project to raise funds for Dig Deep Water to help Diné families.
For every $5.00 spent, I will mail you a gold oyster as a reminder of our communal and individual power in either healing or worsening these capitalistic consequences.
100% of proceeds will go towards helping Diné communities.
The fundraiser will carry on throughout the duration of the show, May 25 - July 12, and oysters will be given to their new homes after the show closes on July 12, 2019.
To buy and receive an oyster, please inquire within the gallery or visit the gallery shop online at fullerrosenshop.com.
For more information about Dig Deep Water and their work in Diné communities, visit navajowaterproject.org.
Thank you for helping these communities thrive with access to clean, running water.
Lehuauakea Fernandez (b. 1996, she/her and they/them) is a mixed Native Hawaiian interdisciplinary artist from Hilo, HI currently living and working in Portland, OR. They received their Bachelor of Fine Arts degree in Painting, with a minor in Art + Ecology from the Pacific Northwest College of Art. Through a range of craft-based media, their art serves as a means of exploring cultural and biological ecologies, mixed-Indigenous identity, and what it means to live within the context of contemporary environmental degradation. Lehuauakea has participated in several solo and group shows throughout the Pacific Northwest, most recently Yəhaw̓ at King Street Station in Seattle, WA and A Gift, A Breath at Alice Gallery in Seattle, WA.
March 30 - May 17, 2019
Fuller Rosen Gallery is pleased to present SUBLIMATION, a solo exhibition of new work by Diana Palermo. Opening reception March 30 from 6:00 - 9:00 pm.
Follow this link to learn more about Diana Palermo’s art practice in their new book SUBLIMATION.
“The symptom: a language that gives up, a structure within the body, a non-assimilable alien, a monster, a tumor, a cancer that the listening devices of the unconscious do not hear, for its strayed subject is huddled outside the paths of desire.”
— Julia Kristeva, Powers of Horror
Sublimation is a psychological process through which socially unacceptable impulses are transformed into socially acceptable actions or behavior. This idea has been presented by Nietzsche as a ‘magnificent result obtained through the basest ingredients’ and detailed by Sigmund Freud as a beneficial satisfaction of the erotic within the constraints of society.
Run it through my filter, collage, 2016
Palermo’s work in SUBLIMATION is fueled by personal experiences growing up queer in a culture governed by Catholic morality. Within this framework, the conversation expands upon sexual sublimation and relative abject impulses. Unlike repression, sublimation allows for an indirect use of these desires as an expression of raw carnal essence. In their work, Palermo confronts the norms and acceptable levels of gender and sexual expression. They break down and rebuild systems and structures both conceptually and visually, emboldening the viewer to own their nuanced narratives, their bodies, their voices, and their sexuality.
Diana Palermo (b. 1987, they/them) is a visual artist from New Jersey who works primarily in printmaking, fiber, and photo processes. They received their BFA in crafts with a concentration in fiber media in 2010 from the University of the Arts in Philadelphia, PA. They also received their MA in Art Education in 2013 from Kean University. They have shown their work internationally at galleries and museums most notably the Newark Museum and Montclair Art Museum. They have had their works published in books and magazines including The Pattern Base. They currently hold a residency at Index Art Center in Newark, NJ and have been a resident at the Vermont Studio Center.
Ego Placebo a solo exhibition of new work by Wiley
Opening reception and performance January 26, 2019 from 6:00 - 9:00 PM
Orgasms are Important (a workshop led by Wiley) Sunday March 3, 2019 starting at 1:00 PM
Ego Placebo is Survival via Mutilation and Beautification.
Ego Placebo centers itself in the canon of contemporary Filipino-American art: the artist lives in an amalgam of two cultures — one by choice and one by force — both conditional. The artist mines her personal mythology into aesthetic expressions wherein the viewer projects their own connections to and interpretations of the exhibited works. Ego Placebo stares back at the forces that made the artist hate her body, the same forces that allow Others to navigate their social environments without ever interrogating their corporeal form. Ego Placebo reaches for a traditional way of knowing obscured by centuries of European colonization, wherein meaning is mutable and intuition is logic. Ego Placebo is an audacious celebration of the Self. Ego Placebo seeks the edge of Western limitation, a hedonistic exploration of pleasure and pain.
The Self is the first lens through which one views the world. It is the rawest and freest material born of impulse; existing both as a construct by which its wearer can navigate their cultural environment and a construct through which its wearer may reveal themselves to the Other. Value placed on the latter construct by the Other is debatable, shifting with the certainty of the stock market. If the Self is obscured through interference, one undertakes a journey to reclaim what was taken or adapts to an existence where the Self is decentralized; unknowable without an Other.
How does the Self survive a culture that hates it? What tools, in defiance of empirical logic, help it adapt to the environments its cultures occupy?
Wiley (b. 1995, she/her) Filipino-American artist from Honolulu, HI. Wiley holds a BFA from Portland State University. Wiley creates self-reflective works with materials and methods associated with her childhood in an effort to better understand how her lived experiences create and shape who she is. She has exhibited works in Hawaii and Oregon including Pacific University and Portland State University. Wiley’s work is in the private collections of Mike Rutherford and Pacific University, and was featured in Sculpture Magazine. She was awarded an Honorable Mention in the Outstanding Student Achievement in Contemporary Sculpture Award from the International Sculpture Center, and a Juried Commendation from the Arlene Schnitzer Visual Arts Prize.
Photos Courtesy Wiley © 2019
Angélica Maria Millán Lozano
Angélica Maria Millán Lozano
November 17 - December 20, 2018
TREGUAS New works by Angélica Maria Millán Lozano Opening Reception November 17, 2018 from 7:00 - 9:00 PM
(Portland, Oregon) Fuller Rosen Gallery proudly presents Angélica Maria Millán Lozano’s first solo exhibition: TREGUAS on view November 17, 2018 - December 20, 2018.
The exhibition frames treguas or truce as a process of negotiation, acceptance, forgiveness, and healing; between self and body, self and partner, self and beauty, self and history.
Lozano’s work explores rite of passage constructs using the narrative of her abuelita, who was forced into marriage at age fifteen — an age now synonymous with the iconic Latin American Quinsiañera. Lozano reckons with these uneasy truces through textile and soft sculptures that recall clothing and bodily adornment. Sequin, crushed velvet, and lamé forge agency in treguas.
Angélica Maria Millán Lozano
Angélica Maria Millán Lozano (b. 1989, she/her) is an artist from Bogotá, Colombia currently based in Brooklyn, New York. She creates abstract and figurative compositions on distressed fabrics that question the social injustices that affect Latinas in the home. She received her MFA in Visual Studies at Pacific Northwest College of Art. Millán is also a co-founder at cvllejerx, a poc focused fashion, poetry, and performance collaboration. Millán has presented work at Disjecta, Williamson | Knight, Nationale in Portland, OR; Gas Gallery in L.A., CA; and Bridge Productions in Seattle, WA.