@carelsari here! I paired @shaoulstudio Sara Shaoul's Farmer's Daughter with a newspaper clip we have on the wall from the early 1950's. It is a small town article about a spectacular highschool football win (My partner's dad is the quarterback in the pic)
Young American(a) bodies in motion adorn this clipping and connect with Sara's dissected image of femininity and youth in a multitude of ways. What cannot be seen in the photo is that the paper strips in this collage stick out off the page every so slightly, creating a delicate beat and rhythm reminiscent of a skirt swishing in dance. It has a sculptural feel to it, that merges beautifully with how minimal it is.
Farmer's Daughter, 11x14, collage on paper, 2021 collage on paper
@thekateharding here for Day 1 of Week 6 of Shared View with the work of @carelsari (Sari Carel) being introduced to the thru-way. This work of Sari’s is colored pencil on paper and part of her Press Play body of work. This piece called for a little shifting around of the two dimensional works and reading about what Sari wrote about this series in the earlier Collective View post today has me meditating on how works in a series itself expands within this show as each of our own installations and reverberations amongst Shared View is its own kind of series of iterations. Thank you Sari for this thought provoking work and I’m so looking forward to learning more about your work in you IG takeover this week!
It’s Week 3! Of Collective View exhibition Shared View! @gabriellemertz here with the latest installation of Sara Shaoul’s Welcome to Hawaii. Sara uses imagery from National Geographic magazines of the 70s & 80s in this series of collages, examining the visual and cultural lens through which female bodies are viewed and assembled (or disassembled).
Her work is placed next to Shanti Grumbine’s on the right (featured last week) and works by Vahap Avşar on the left. The works are part of a series that were assembled by Avşar from an archive of photographs originally created in the 70s and 80s in Turkey to make postcards for national distribution (but which were then censored and never distributed following the 1980 military coup).
Great to see how different artists approach found imagery, recontextualizing and exposing elements of it, and creating/recreating new archives from previous ones. And this very platform—Instagram—is also about creating/recreating collections of images and contexualizing them under different rubrics (personal, professional, social, cultural, political, etc). So it feels very fitting to be showing these works in an additional way and as part of yet another archive that now exists digitally on the internet.
Sara is posting on Collective View’s Instagram this week, so be sure to check out her posts for more images and information about her work and practice.
Welcome to Hawaii
Collage on paper
Window Study #1
Gel pen on black paper
5.25 x 7.25 inches
Lost Shadows [AND Museum]
Photographic print on cardstock
7 x 7 inches each