Shadow Selves
Just as shadows themselves can manifest in manifold ways according to shifting circumstances, so too can expressions of, and understandings gained through, shadow selves. Such aspects of self might be those we conceal or obscure in order to shroud them in secrecy. They might be matters we strive to unknow or bury through modes of suppression. They might be memories or characteristics we acknowledge as extant, yet consider to be of secondary importance or presence 鈥� as impressions of things we bear in mind, or impressions we believe to have left behind. Our shadow selves might also be those we come to terms with, over time, by sharpening our senses of self-awareness, or by simply becoming more comfortable in our own skin. This might entail recognizing an interdependent rapport between our objective realities and how we shed light upon them, alter their forms, trace their contours, construe them for what they are, or try to illuminate them in revelatory ways through modes of cognitive, or perhaps artistic, abstraction.
In Shadow Selves, senses of self, senses of others鈥� selves, and senses of othered selves come into material confluence. As evidenced by their works in this carefully curated show, Susan Luss, Hannah Ehrlich, and Louise No毛l employ and collaborate with shadows both real and metaphorical to suggest the presence of bodies where bodies no longer are, and to illuminate lingering traces of histories that were 鈥� and that might yet, in reconfigured forms, endure. Shadowy aspects of self might be held in secret, suppressed, or obscured. Yet they might also be channeled into artworks to free them from the shade of confinement 鈥� releasing them into the world to cast revelatory light on life.
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Just as shadows themselves can manifest in manifold ways according to shifting circumstances, so too can expressions of, and understandings gained through, shadow selves. Such aspects of self might be those we conceal or obscure in order to shroud them in secrecy. They might be matters we strive to unknow or bury through modes of suppression. They might be memories or characteristics we acknowledge as extant, yet consider to be of secondary importance or presence 鈥� as impressions of things we bear in mind, or impressions we believe to have left behind. Our shadow selves might also be those we come to terms with, over time, by sharpening our senses of self-awareness, or by simply becoming more comfortable in our own skin. This might entail recognizing an interdependent rapport between our objective realities and how we shed light upon them, alter their forms, trace their contours, construe them for what they are, or try to illuminate them in revelatory ways through modes of cognitive, or perhaps artistic, abstraction.
In Shadow Selves, senses of self, senses of others鈥� selves, and senses of othered selves come into material confluence. As evidenced by their works in this carefully curated show, Susan Luss, Hannah Ehrlich, and Louise No毛l employ and collaborate with shadows both real and metaphorical to suggest the presence of bodies where bodies no longer are, and to illuminate lingering traces of histories that were 鈥� and that might yet, in reconfigured forms, endure. Shadowy aspects of self might be held in secret, suppressed, or obscured. Yet they might also be channeled into artworks to free them from the shade of confinement 鈥� releasing them into the world to cast revelatory light on life.
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