Su Casa es Mi Casa

Some shots from the juried exhibit, Gimme Shelter, at Columbia City Gallery in Seattle, where I am showing my project, Su Casa es Mi Casa (video and building cards). According to the gallery’s website, Gimme Shelter “speaks to the many types of dislocation happening in society today both locally and internationally. Artists working in 2D, 3D and video address issues of homelessness, gentrification and refugee dislocation.”

My project focuses on twelve meandering months of sacrificing stability to focus on art by completing an MFA, showing work abroad, having difficulty trying to find employment during school and after graduation, and thus also trying to find a long term residence, especially where rising rent costs are prohibitive. Here, 26 surfaces slept in during that time are the focal point. Some while house sitting, dog sitting, renting cheap rooms briefly, or visiting far away friends.

The images are rendered in impermanent media in a style touching on the vulnerability and fragility of a dollhouse, yet in some cases are also reminiscent of an interior blueprint. They are primarily recollections from memory vs. photographic representations. Therefore, the room renderings are wrought with inaccuracies and omissions. Words are imperceptible in the disorienting layered monologue which ponders the meaning of “home” for someone who has accepted nomadism and expansion through travel and creativity over domesticity, yet longs for a place to settle down. The disquieting incompleteness and constant change provides comfort through spaciousness and balances the alternative by thwarting staleness. On the other hand, constant movement is contrary to the stillness needed to support long term goals. Therefore, balance must be found between the two, just as it is required to build a house of cards. The concentration, energy, and persistence needed to succeed during this period of transition is apparent in the tension of the monologue and motion of the builder and camera operators, Stephanie Reid and Todd Rychener.

Camera operation: Stephanie Reid and Todd Rychener
Illustrations, Direction, and Editing by Stephanie Reid

work in cardboard by Vincent Samudovsky, entitled “Doorway”

center piece in plaster, paint, found objects by by Ellen Hochberg, entitled “Is This Who We’ve Become?”

etching by Valerie Schurman, entitled “Chanel 1”

digital photo by Frank Duckstein, entitled “Green Door”

digital photograph by Sharon Swanson, entitled “Dream of Spring”

mixed media collages by Carletta Carrington Wilson

Carletta Carrington Wilson talks with Wendy Call and Aram Falsafi. Vincent Samudovsky has a conversation in the background.

my video “Su Casa es Mi Casa” and accompanying building cards. To watch the video online, visit the link at the bottom of this page

my video “Su Casa es Mi Casa” and accompanying building cards. To see them all, visit the link at the bottom of this page.

Abbie Birmingham builds with “Su Casa es Mi Casa” installation cards

background structure in paper, acrylic polymer, and steel by Amy Wang, entitled “Fortress”

video installation by Wendy Call and Aram Falsi, entitled “The Bittermans” about the severe gentrification happening in the artists’ block in Seattle starting with the destruction of a family home by developers who purchased the home for a low price, the accidental destruction by fire of the new home purchased at a much higher price, and then the newest home selling there for something like $4M

(right) Gallery Manager, Betsy Fetherston and Jurors Florangela Davila (Managing Editor, Crosscut), Bill Gaylord (Artist/Architect, Director, Bonfire Gallery) and John Sutton (Artist, SuttonBeresCuller)