PRESS COVERAGE: ID // W MAGAZINE // NYLON //  LADYGUNN MAGAZINE   As part of the 2016 SPRING/BREAK Art Show,  thematically focused on the role of the artist in the modern digital age; curators  1985  with Kelsey & Rémy Bennett present the group exhibition “GLORY HOLE: an immersive experience exploring the subversions of intimacy, sexual catharsis, worship, exhibitionism, and violence amidst the growing pains of our rapidly changing technological and interior landscape.    Kelsey Bennett ’s phantasmagoric women, armed with hypodermic needles and shark fins, shimmer like holograms against the tragic, mystical prose of  Michael Bible , in their chapel of  Sorry Saints.    With the video installation  Eat Me,   Rémy Bennett  & Anna Del Gaizo invite you into the bedroom/crime scene of a web cam girl who doubles as a serial killer, where digitized sex is pitted against tangible flesh, gender roles are reversed, and the viewer may step into the role of client, forensic investigator, or voyeur.   Bitter sweet desperation born from the inability to connect in ‘ the age of connection ’ is on display in  Maria Candanoza ’s candy colored fragmentary documentation of a continuos social media exchange with her fictional, collage boyfriend — depicting in unison the experiences of isolation and intimacy.   Sam Cannon  straddles the line between desire and discomfort with her digital human transmutations, displayed in the form of GIFs. As eyes blink in place of breasts, facial features multiply, legs twitch in an endless loop, as our concepts of beauty are illuminated.    James Concannon  personifies the role of a zealous Catholic losing touch with his religious reality and succumbing to sin. Creating a self-contained immersion of Hell, he surrounds himself with sexually charged mementos and battles with the notion of obsession.  By deconstructing and reconstructing the meat of dead animals,  Brooke David  transforms primal forms into vivid synthetic textures for her large scale paintings; imbibing the fleshy contours ofcarcass with a pulse, and the distinct scent of lust.    Tafv Sampson and Nick Des Jardin  construct a 1970s era basement where snuff meets glamour girl voyeurism, utilizing VHS, Pin Ups and Polaroids. 

PRESS COVERAGE: ID // W MAGAZINE // NYLON // LADYGUNN MAGAZINE

As part of the 2016 SPRING/BREAK Art Show,  thematically focused on the role of the artist in the modern digital age; curators 1985 with Kelsey & Rémy Bennett present the group exhibition “GLORY HOLE: an immersive experience exploring the subversions of intimacy, sexual catharsis, worship, exhibitionism, and violence amidst the growing pains of our rapidly changing technological and interior landscape. 

Kelsey Bennett’s phantasmagoric women, armed with hypodermic needles and shark fins, shimmer like holograms against the tragic, mystical prose of Michael Bible, in their chapel of Sorry Saints. 

With the video installation Eat Me, Rémy Bennett & Anna Del Gaizo invite you into the bedroom/crime scene of a web cam girl who doubles as a serial killer, where digitized sex is pitted against tangible flesh, gender roles are reversed, and the viewer may step into the role of client, forensic investigator, or voyeur. 

Bitter sweet desperation born from the inability to connect in ‘the age of connection’ is on display in Maria Candanoza’s candy colored fragmentary documentation of a continuos social media exchange with her fictional, collage boyfriend — depicting in unison the experiences of isolation and intimacy.

Sam Cannon straddles the line between desire and discomfort with her digital human transmutations, displayed in the form of GIFs. As eyes blink in place of breasts, facial features multiply, legs twitch in an endless loop, as our concepts of beauty are illuminated. 

James Concannon personifies the role of a zealous Catholic losing touch with his religious reality and succumbing to sin. Creating a self-contained immersion of Hell, he surrounds himself with sexually charged mementos and battles with the notion of obsession.
 By deconstructing and reconstructing the meat of dead animals, Brooke David transforms primal forms into vivid synthetic textures for her large scale paintings; imbibing the fleshy contours ofcarcass with a pulse, and the distinct scent of lust. 

Tafv Sampson and Nick Des Jardin construct a 1970s era basement where snuff meets glamour girl voyeurism, utilizing VHS, Pin Ups and Polaroids. 

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