Ross Iannatti


Oro Valley


22nd July - 27th August 2016

Now, imagine a place that is peaceful.
Imagine a place that is the most peaceful.
Go there now.
A river, 
the Hudson River. It’s morning and the sun is rising
over the Catskill mountains.
The air is chilled, October, there’s a low fog over the water out past the window.
Hands resting in front of me.
You notice the small wooden table for two.
No lights are on but the room fills with morning light.
Soft.
Your hands rest on the old wooden farm table,
it’s paint forest green.
You pick at the lead paint peeling from it’s table top.
The room smalls of brewing coffee and extinguished sage.
Your eyes open.
Where am I? 
The room smells like bleach.
Head splitting.
What month is it? 
October?
No.
Should I call for help?
Perhaps drive to San Julian street.
Pickup the heroin prescription.
No, benzos?
The room still smells strongly of bleach. 
It smells like a rag soaked in it.
A rag is on your face covering your nose.
You take a large gulp of water.

I read that Andy Warhol once said, “I never understood why when you died, you didn’t just vanish…. I always thought I’d like my own tombstone to be blank. No epitaph, and no name. Well actually, I’d like it to say figment”.

Neurofeedback, also called Neurotherapy, is a type of biofeedback that uses real-time displays of brain activity to teach self-regulation of the brain and it’s impulses from the brain stem into the amygdola and onto the temporal lobe. Neurotherapists studying the brains of meditating Tibetan Buddhist monks found that these monks had the ability to regulate the brain to the point that they lost all sense of self, space and time.

In Warhol’s series of Rorschach Test paintings, he makes a witty jab at established abstract painting. He describes the works claiming that the viewer would project their own narrative onto the empty abstract forms of the painting. I made these works in Oro Valley, similar to Warhol’s works. The etchings in the show aren’t about anything. These are just images of flowers. Some of the works are more recognizable of flora and some are not. Ultimately they’re about nothing, the viewer can make them into something if they want.

Nobuyoshi Araki | Athena Papadopoulos | Bunny Rogers | Diamond Antoinette Stingily | Hanna Törnudd | Karlheinz Weinberger


Take this Gum and Stick It | Curated by Nasrin Leahy


22 July - 27 August 2016

First encounters of passionate resonance often arise in our seemingly tender, adolescent years. A time of self-exploration, the first refutation of societal expectation. Sensations of rebellion and impulsion. A riotous dichotomy ensues as the adolescent embraces new desires while adult society desperately attempts to impose forsaken innocence, non-consensually.

But in our rooms we play other games and at the dance our eager gropes are shrouded in smoke.

Take this Gum and Stick it, addresses this onset of hedonistic desire. Artworks put in place aesthetically contain a certain level of naivete; lace materials, the predominance of pink and imagery of a delicate or effeminate nature all contribute to a sense of innocence and nostalgia. In contrast, the thematic direction of the exhibition combined with the artworks themselves, play to varied sexual dialogues. Each work functions as an unapologetic declaration of primordial attraction or adolescent urges. In its entirety, the exhibition is an ode to that period in one’s life (particularly if that individual is queer or female) when sex is presented as sensitive subject matter. Yet, it diverges from this tactful bestowal, demands agency and takes it by the balls.

Nasrin Leahy