Bunker 2

364 Campbell Ave, Toronto, ON, CA

growing sideways
Madelyne Beckles On view April 8th — May 7th, 2017
Dahae Song Curated by Kate Benedict & Tamara Hart
Hannah Spector

growing sideways explores the ways in which the politics of alienation inform the construction
of the ‘self’ within identity formation and subject/object relations. The artists in this exhibition
examine forms of alienation through contrasting lenses of expression, ultimately reconciling
diverse sites of tension.

Madelyne Beckles’ "Endless Scroll" works within a feminist critical race framework to examine
the ways in which power is exercised across gendered and sexualized bodies. The artist’s found
objects and video work critique the capitalist commodification of female experiences and
employ humour to reject sexist tropes that often occupy online platforms. Beckles addresses
the ways in which identity and technology exist as a mutually reinforced system and critiques
the alienating models of ‘successful femininity’ as she reflects on virtual landscapes as an
extension of the self. Her work analyzes racialized female oppression under capitalism through
an exploration of the self and the psychology behind constructed online identities.

Idiosyncratic and self-referential, Dahae Song’s site-specific installation, "how to fill a void,"
examines human existence and identity formation within the context of virtual and corporeal
spaces. Song’s raw canvas works transform their surroundings through disjointed limbs,
impulsive patterns and subliminal brushstrokes. The abstracted forms construct a deeply
personal aesthetic system; one reflective of incoherent memories, isolated emotions and
pathological experiences. Song’s amorphous shapes are dictated by subconscious impulses;
attempts to visualize psychological states and feelings of estrangement from internal and
external worlds. The process of creating becomes a mechanism of control and provides a
contemplative account of the ‘void’ that is a continual expansion of soul, mind, and emotion.

A poetic investigation of colour and form, Hannah Spector’s installation, "people are all
different temperatures all the time," explores themes of identity and consciousness. Drawing
on Nietzche’s Thus Spoke Zarathustra as a philosophical foundation for her work, Spector
affirms that we must remove ourselves from society to overcome self-alienation. The artist’s
minimal, non-hierarchical structures form a fluid space where the binary between
subject/object dissolves and meaning becomes contingent on encounters. Spector’s spatial
interventions weave together complex threads of existence and consciousness, allowing the
viewer to dissolve into subtle abstractions and reconnect with the alienated ‘self’.