Contemporary Art Galleries is pleased to host a solo exhibition by UK based artist Eden Dodd titled Death Throes. Dodd’s mirrored glass works are soldered together using traditional stained-glass techniques. This process played an important role in the illustration of religious storytelling during the Middle Ages and continues to do so in contemporary places of worship. Dodd is interested in “mythologizing personal narratives, as a method of inviting others to empathize and understand another’s circumstance.” Weaponry, knight’s armor, and maces are the vessels that carry Dodd’s messages as they ask us to look at fractured reflections of ourselves within medieval symbology.
As a non-binary person, Eden Dodd (b.1994) has found a connection with fractured states within their artwork; the space between planes of existence, of dichotomies and of the physical and ethereal states. Dualities, reflections and doubles are integral to the language of their practice – the other always exists within the self. Through the lens of queerness; they can exist in both this side of the mirror and the other, simultaneously. Eden has a First-Class BA (Hons) Fine art from Cardiff Metropolitan University, and a MLitt (Distinction) in Fine Art Practice from Glasgow School of Art. Their work has been exhibited solo and within group shows both nationally and internationally in Japan, Ukraine, Vienna, America. Their work is held in private collections across the world.
Contemporary Art Galleries is pleased to present a solo exhibition by Nicaraguan artist and current visiting fellow in residence at the UConn School of Fine Arts, Alejandro De La Guerra. Collectively, De La Guerra’s practice focuses on the aesthetics and historical memories of political power. This exhibition features new works composed of 3D printed parts, jewelry beads, chains, acrylic paint, and spray foam all anchored to traditional canvas. Fundamental to these assemblages is a process of layering as De La Guerra collides a multiplicity of historic political iconography and current political fashion sense.
These abstractions are a departure from De La Guerra’s distinctive performance and sculptural work, marking an important moment in the artist’s visual language. The surfaces of De La Guerra’s new works are alive with optical attraction – mimicking candy and dessert. He has described these works as a “failed revolutionary aesthetic,” one assembled from the “failure” of 3D printing machines and unwieldy foam material. De la Guerra’s ability to redefine symbols of power comes to the fore in “Celda;” as a grid of blue lines representing prison bars becomes soft and malleable. We see a similar message in “Lava y Nieve (promesas políticas)” in which De La Guerra presents strips of snow on shelving housed within a mound of molten lava, all nestled under a single palm tree protruding from the top edge of the canvas.