AS220 Main Stage & AS220 Project Space
In the Project Space:
One Brown Suitcase
Opening reception on Gallery Night, 15 March
A presentation/performance will take place from 5:30-7:30pm
For the most part, my childhood in The Bronx is broken up into a couple of significant events and memories lined with inklings of hope, a new beginning, the start of a new life and the end of another. Old pictures much like memories have the ability to take us back to a place and time, a specific moment that while we get a glimpse of, we don’t have access to and for the matter, never might have had access to begin with. Recently I discovered all of what my mother has left of the time she spent In The Bronx and my childhood there. My sister’s baby shower. A family party. My fifth birthday; my mothers journey to America; literal glimpses at a history that is many times only explained through one image. All of that history loosely packed in one brown suitcase.
Sarah Rose Lejeune
there, not here
In the essay Nostalgia and Its Discontents, the theorist Svetlana Boym identifies “nostalgia” in two parts: “nostos” and “algia.” Boym defines nostos as a “rebuilding of the lost home” or “a patching of memory gaps.” Algia is longing itself, a “desperate and wistful delay of homecoming.”
Sarah Rose’s sculptures are quietly humorous meditations on said nostalgia.
Working with handwoven cloth, cast silk, and enameled copper, SR chooses materials that reference human imprint. Textiles saturate daily life—cloth is present in spaces as intimate as bed sheets, as private as curtains, and as transitory as the seats on a bus. These sculptures are interpretations of familiar architectural fragments—cushions, windows, fences. They ask what these household objects have seen, where they lead, and what it means for them to be lost and found.
This work show in “there, not here” articulates the relationship between experience and memory, balancing a somewhat contradictory desire for completeness with patience for things not quite formed.