Catch It or Regret It
Trinity; Aegnapea; It Almost Was Not
At first glance, Corey Armpriester's digital prints depicting permutations of nails and eggs seem interesting but innocuous. But viewing the pairing as nails versus eggs adds to the complexity of the imagery. Nails, phallic symbols of penetration, force and construction, stand as threats to the soft, nurturing curvature of shells and quivering yolks. Prints where Armpriester questions this binary by outfitting eggs with nails to look like blowfish are particularly challenging (pictured).
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This massive, unframed vinyl map exudes the atmosphere of a nightmarish elementary school classroom. This feeling might not be too far from artist Hamdi Attia's questioning of the illusions crafted by anthropology and archaeology -- what can we really know about a culture based on artifacts placed in an artificial context? But for a show about interpretation, intention hardly matters. "It's up to whoever comes in to decide what they want to take from it," says Pageant owner/director Daniel Dalseth.
Katie Henry usually creates functional bags and backpacks that hang on shoulders. But for her first show, she made her work hang on walls. "It was very frustrating. Several times, I decided to give up and not have a show," says Henry, revealing the origin of the exhibit's title. Her sewn drawings, inspired by stories of feral children, sold quickly at the opening. She's creating more work to sell at the closing in hopes of recouping the money stolen from her wallet shortly after initial sales.
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