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Thérèse Mulgrew developed her new solo exhibition at Freight + Volume by engaging with the tenets of cinema, conceiving of the whole as a short film caught in oil on canvas. What results is an exhibition experience unafraid to employ exactness in service of emotional resonance. To step into the gallery is to concede to a directorial pursuit and submit to the voyeurs perch.
In Mythodical, the heavens drip into the sea, horns hang from the ceiling in a silent siren, and marshy debris on canvas and entangled sculpture suggest mysteries unseen. This is the world built by painter Eleen Lin and ceramicist Tammie Rubin in their collaborative exhibition at C24.
Keep Left at the Fork opens with two hands maybe grasping for, maybe pulling away from one another. Jesus is watching from a wrist. As the title of the imposing work suggests, in this gaze are The Eyes of Texas (2022). The ambiguity of charged space between contact sets the tone for Chloe Chiassons solo museum debut at Dallas Contemporary; here, enormity and iconography suggest how home and history are constantly rejecting us and beckoning us back. Through a grouping of nine large-scale mixed-media paintings and sculptures, the artist succeeds in imbuing queer expression into scenes of Americana.
All-Night Pharmacy is so visceral and exacting in its prose that I often found myself wanting to put a foot over its drain to avoid further confrontation of a story that felt so true it was painful to be a part of. But the narrator is too sharp and sentimental to leave clogged for too long. Ruth Madievskys debut offers one of the more nuanced explorations of not wanting to deal, and the angels and demons that serve as our distractors.