Suffering From Realness


Joey Fauerso’s work also exists in between things: between painting and sculpture; between film and performance; between humor and tragedy. This vacillation comes from her dedication to blending life with art. Like many artists, Fauerso used to keep her studio practice separate from her home life. That all changed when, at thirty-eight years of age, she was diagnosed with breast cancer. While undergoing treatment, Fauerso witnessed her two young sons playing a game of pretend they called “Dog Hospital.” She overheard phrases like, “These are the operators” and “These are the rescue persons,” realizing that her boys were processing what was happening to their mother. In this moment, Fauerso understood that she could not longer silo the relationship of herself to her body, to her children/family, and to her work. As a result, she started to blend these worlds together, turning her children’s game of pretend into the artist book Dog Hospital(2015), in which we see the “operators”—tuxedoed men with surgical masks—and the “rescue persons”—tender portraits of her sons.


When the political landscape turned topsy-turvy in 2016, Fauerso wanted to address her own “visceral response to living in the United States during a time of total political and moral collapse.” To do this, she turned to her sons once again, overhearing her younger say to her elder: “You destroy everything special I make,” turning a sibling conflict into an achingly accurate description of how the artist felt after Trump was elected. This phrase became the title of a mixed-media installation. The other thing to change in Fauerso’s studio was her desire to cease using carcinogenic painting materials, leading to a technique akin to mono-printing. Covering canvas with a thin field of non-toxic paints, Fauerso uses spatulas, squeegees, cloth, and other tools to create quick, gestural images. It is a reductive technique, where she takes away paint, allowing the image to emerge. She uses this tactic in You Destroy Everything Special I Make(2017‒19), where a series of monochromatic drawings casually spill across the wall: a funeral ceremony on the Ganges; Joan of Arc at a pyre looking longingly upwards; a vertical pile of women’s bodies neatly nestled into one another. These images come from a place of anxiety—for women’s bodies, for war, for the human condition. Amongst these images are blocks of wood, small arrangements of built environments, layering the work with complexity. Adjacent to this tableau is a series of videos in which Fauerso worked with her sons and her friends to build and knock down various constructions. The soundtrack is thundering, and the act of toppling is satisfying, playful, aggressive, and cathartic. The building and rebuilding plays in a continuous loop, much like the cycle of politics and life. This work also conjures the Jewish concept of Tikkun Olam, meaning “fixing up,” and referring to deeds of kindness performed to repair the world. Despite the political and moral collapse from which Fauerso started, it is clear that, through this work, she and her family are performing acts of Tikkum Olam.


-Denise Markonish, Senior Curator, Managing Director of Exhibitions, MASSMoCA




A Soft Opening

 
The phrase “a soft opening” carries a double meaning—the test run of plays and restaurants and the phantasmagoria of orifices, Cronenbergian portals. The common denominator of these two meanings is uncertainty, fluidity, flux. One never knows what will happen opening night when the red curtains draw back.
 
Joey Fauerso’s kinetic solo exhibition, her second at David Shelton Gallery, revels in the flash of possibilities. Across text, painting, film and sound, Fauerso luxuriates in a coiled chaos, telescoping from the whimsical, joyful intrigues of family to the dark, cresting tides arising from a year where the world is gripped with hatred and panic.
 
In Attendance, a six-minute video that splices earthy images of familial play with tactile, stark paintings and a serene ghostly long take of the ocean—all to a minimal metronomic score—euphoria and unease pervade. There is the sense and terror that things are always transitioning faster than one can process.
 
In Utopia, a painted tapestry of medieval proportions, men carry each other to and from a snaking, humid river. It’s unclear whether they are hurting or helping, whether it’s a grim death ritual or a rescue. Though depicted in metallic tones, it feels like steaming Technicolor, charged with the blood rush of immediacy and peril.
 
Similarly, one mono-print piece titled Contrast interjects the text: “Pretend You are A Newborn Baby” with smeared, swirled faces electric with sensory overload. The hinge flutters like butterfly wings between terror and wonder.
 
Several of the works space longer, surreally didactic poems with Fauerso’s monochrome paintings. Some of the text from the poems comes from things said by her children during make-believe games. As Fauerso states, “When children play and make-believe, the assigning of meaning and value is incredibly fluid. There is an elasticity to the naming of things.” These sequences are simultaneously instructive and disorienting, and much of the meaning alights and connects through the process of arranging.
 
The exhibition is inspired by Fauerso’s life, family, what she reads and what is happening in the world. Fauerso is keenly aware of the gap between these streams and the way they lattice together. Marcel Duchamp once referred to the space between components as the “infra-slim”, and suggested meaning could be located within this invisible seam. As A Soft Opening demonstrates, the infra-slim goes on forever.
 
-Neil Fauerso



Natural History
 
Joey Fauerso’s video work playfully projects her take on nature, culture, and gender. Based on traditional Romantic ideals, she critically rearranges discourses of the Art Historical past. In “Me Time,” which records the artist passionately kissing a series of puppets, she is reflecting on the trope of the artist and muse, or, perhaps more pointedly, the Pygmalion myth. Wildly humorous for the first moments, the viewer quickly begins to feel self conscious and awkward as Fauerso establishes a real connection with her seriousness of intent. Hinged on the idea of narcissism and the development of ego, this piece performs the projection of self as the object of Fauerso’s affection, as she plays both roles. Performance, and the ways it influences our self conscious, the ways it manifests in gesture and movement, are a key component of all the films shown here. In “Drama” and “Clearing,” for example, while the performers are engaged in movements that we might expect to be graceful, they more often than not appear as awkward. 
 
Trained as a painter, Fauerso includes hand drawn and painted elements that are painstakingly layered with real life footage to create a fantastical naturescape that in fact is part pure imagination, part appropriated imagery, part actual suburban foliage. She views the construction of these settings as a metaphor for how we think about nature, sexuality, and the nude form. These themes of course also being the subject matter of the films themselves, as she shakes up expected gender roles in humorous scenarios that almost unwittingly engage us in a rather serious examination of some of the great themes of art history. 
 
-R. Schoenthal, Curator