KNOW HOPE | THE WEIGHT Opens November 10, 2012

November 05 2012 . 01:44am

KNOW HOPE | THE WEIGHT
Opening reception November 10, 2012 | 8-11pm
On view November 10 – 24, 2012

Known Gallery / Main Room
441 North Fairfax Avenue
Los Angeles, CA 90036
info@knowngallery.com

For his first solo show in Los Angeles since 2009, Know Hope continues his research and narrative, this time focusing on the notion of ‘The Weight’.

Portraying ‘The Weight’ in both a visual and symbolical nature, this exhibition observes on the various interpretations of what weighs down on us, collectively speaking.

Know Hope has recently been using the image of the flag in his work, attempting to look into the idea of patriotism-not necessarily from the directly-political aspect, but by focusing on the minor human situations that compose this larger issue.

The artist conducts this research from a standing point of aiming to understand how patriotism works; as an emotional mechanism, hoping to show the indifference between the personal and the political.

Another primary concept portrayed in Know Hope’s work is the idea of ‘The Missings’, the empty spaces which he sees as a common denominator. The artist believes that there is a collective longing that exists in subjective manners (i.e. ‘a missing’, or an empty space) that we seek to fill, more specifically in this case by patriotism.

There is an emphasis on the process of adopting these ‘truisms’-being born into a charged reality and embracing these values without questioning; such as we do the flag and it’s role in our lives.

By creating a new body of work and a site-specific installation, all while keeping these things in mind, Know Hope presents ‘The Weight’, an observation on where we are now, how we got to being there, and how we manage the burdens that we bear.

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New KNOW HOPE in The Gambia for Wide Open Walls

October 28 2011 . 05:44pm

Know Hope was in The Gambia for Wide Open Walls

Find out more at: thisislimbo.com and unurth.com

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KNOW HOPE – A Stumbled Forest

September 26 2011 . 07:32pm

“A Stumbled Forest (Stockpiled Like Littered Flags)” // Helena Rubenstein Pavilion for Contemporary Art, Tel Aviv Museum // August, 2011

 

With the abundance of humbled limbs and littered flags

(How we got here, and where we are now)

 

Sincerely swindled, the troubles piled like broken accents

(Like stock, or others’ truths)

 

Burdens like trials like trying/broke-down trains

(Tugging along these two-timing traintracks, persuaded to sing/mumble this damned anthem)

 

We’re all too homesick and so housebroken

(Anxious like stubborn stock markets)

 

But in the distance

(And through these empty spaces and their signaled echoes),

 

A setting sun, like an allowing toll-booth, reassures us

that sand becomes mountains become monuments become sand

(Nothing can ever stay precious on a sinking ship)

 

and that barricades are only as decisive as we make them

(So we sway back and forth/forth and back with the motions, hoping to reach anywhere or elsewhere)

 

‘No homeland ever’, the tides hint; ‘No homeland ever’.

 

—————————-

 

This installation, composed of close to one thousand entirely handmade tree stumps and trunks, dozens of flags and life size characters, all carefully rendered and positioned, spans upon the space of approximately 100 square meters and reaches the height of over 3 meters high.

 

The piece attempts to examine the ideas of patriotism, not exclusively in a political sense, but more as a metaphor for a human condition-

the notion of being homesick, and the relieving of that same notion, by the means of personal sacrifice and compromise.

 

Throughout the makeshift forest built in the space, the characters are seen amongst piles of tree stumps, amputated arms and discarded flags; sometimes bound to the flagpoles reaching out helplessly to each other, carrying logs, or simply adjusting and functioning in the certain reality with which they are intertwined.

 

Being ‘bound’ is a recurring notion in this installation, as an analogy to a certain pact, an agreement into which one side was persuaded to take part of, and ultimately compromise and make a significant sacrifice. The installation is a certain reflection, a situation of sobering realization of past decisions, regrets and the hindsight on all these things.

This ‘sacrifice’ manifests itself by the characters forfeiting their limbs, a sign of devotion to support the flag in its upright position.

The red dots on the amputated arms correspond with the red dots on the tree stumps, signifying the notion that they were all ‘cut off’, and in a way left as waste with no significant function as initially promised or expected. These elements even seem ‘stockpiled’, as the title of the installation suggests.

 

The choice of the flags being white, not necessarily as a sign of surrender, but more a conscious decision of not attributing it to a certain nation or nationality relates to the reflection being universal, contemplating the devotion to ‘a flag’, not ‘the flag’.

These things raise questions regarding ones perception of a homeland, questioning its existence at all.

KNOW HOPE

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