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What led to your curatorial involvement with SPRING/BREAK?
After curating some recent group shows, I was introduced to Ambre and Andrew through an artist friend, and they had seen and found interest in some of my projects. After discussing our mutual love for art, they invited me to curate a room in SPRING/BREAK. I think my tendency to show contemporary painting added a nice mix to a show with so much video and installation.
What did you and the artists you exhibited seek to explore through this year's theme?
The artists I showcased all display a kind of need-based, ritualistic behavior in "making" artworks. Although we live in a digital, technological, globally connected community, we still feel the need to make physical objects of desire. And that’s what painting comes down to: painting, making, applying substance to substance.
What other curatorial or otherwise creative projects are on your 2013 agenda?
The summer is an exciting time for Ballast Projects. We will be working on a new show involving the New Museum including Russell Tyler again and a few others. I will also be curating a show at Kinfolk Studios early this summer, and I’ll soon reveal some outdoor projects too! But my main plan is to keep celebrating a love for fine art and forward thinking—and to see how far we can take this all.
What did you think of the show's venue and turnout, and how would you describe the overall vibe of the visitors?
The Old School proved to be a very successful and engaging venue. Being an old school house, it was already naturally divided into manageable sections. Each had their own personality due both to the style the individual curators brought to the space and the little touches left behind that served as reminders of the space's history as a place of education. It also had a kind of directional flow to it that guided you from room to room, keeping viewers interested in seeing what the next space had to offer.
I was very pleased and surprised by the volume of the turnout. The opening was packed to the gills, and moving throughout the floors of the exhibition space was almost impossible at times. The crowd was also a good mix of young and old, all of which seemed interested in seeing the work, which is sometimes not the case.
Your work and exhibition room aside, was there a certain artist's work or curator's room that you felt addressed the show's 'new mysticism' theme particularly well?
I think a piece that really hit the theme right on the head was one by Matt Parker, Albert Hwang and Marco A. Castro. They made an installation in a darkened room off of one of the bathrooms that featured a projection of light on a matrix of string. It was mesmerizing how it fluctuated between a feeling of organization and free reign of chaos in the movement of the light, although your brain was telling you it must have been computer generated.
What other exhibitions and creative projects are on your 2013 agenda?
My work is included in a couple group shows coming up, one for the first show at a brand new space opening at 56 Bogart in Bushwick. The space is called Suite 217, and the first show is simply titled 25 Artists. The other is a group show at Brian Morris Gallery in the LES called Paper Mirror Torn. I also write art reviews for NY Arts Magazine, Idiom Magazine, and NYC Art Parasites.
Top photo: Cheon Pyo Lee's sculpture migrated glacially around the room taken over by Interstate Projects. Bottom photo: What happens when the students go home. Or vanish. Transmigration, by Yorgo Alexopolous.
Photography by Sam Morgan for SPRING/BREAK Art Show