If smoke from a large fire on Earth contains particles of just the right size, these particles, when released into the atmosphere, can advantageously scatter red light—giving the illusion of a blue moon. “Blue moon” is also a term used to refer to the phenomenon of an extra full moon in an annual cycle, in both occasions a term harnessed to refer to a rare occurrence. Doesn’t Whine by Blue Moon, a group exhibition on view now at Ochi Projects, grapples with the idea of tenacity and acceptance in an epoch seemingly fraught with anomalies. Featuring works by Arielle Chiara, John Divola, Zoe Koke, Ariana Papademetropoulos, Ser Serpas, Kamaria Shepherd, Alix Vernet, and Bri Williams, the curation’s ethos functions to unify disparate mediums implying states of degradation. A photo of red tide, a refracted woodshed in the forest, dollops of sharp-edged obsidian threatening to rupture the milky pools of silk upon which they rest. “Mutilation to a landscape, or home, is interpreted along different lines, altogether implying the shared impact of the current frenzied eco-political moment.” We are living in a blue moon era. – Rebecca Storm
Alix Vernet, Office Ruin (buried vertical), 2020 fiber glass ceiling tiles 24x48in and John Divola, Wonder Valley, CA, 4/27/2014, 3:35-3:40, 2014 Archival digital pigment print mounted to Dibond aluminum, welded aluminum frame with matching, set-backs and Optium museum acrylic, 30 3/8 x 54 3/8 in
Arielle Chiara, Dry Land is a Kind of Ocean in Waiting, 2020 obsidian and silk, 32x36in and John Divola, Intervention K, 2007, Archival digital pigment print mounted to Dibond aluminum, welded aluminum frame with matching set-backs and Optium museum acrylic, 36x44in
Bri Williams, Medusa, 2018, soap, carousel horse, rubber paint, rhinestones, 36x48in and Zoe Koke, Red Tide, 2019, C Print, 36x52in
Zoe Koke, Red Tide, 2019, C Print, 36x52in
John Divola, Intervention K, 2007, Archival digital pigment print mounted to Dibond aluminum, welded aluminum frame with matching set-backs and Optium museum acrylic, 36x44in
Doesn’t Whine By Blue Moon
Images courtesy of Ochi Projects
If smoke from a large fire on Earth contains particles of just the right size, these particles, when released into the atmosphere, can advantageously scatter red light—giving the illusion of a blue moon. “Blue moon” is also a term used to refer to the phenomenon of an extra full moon in an annual cycle, in both occasions a term harnessed to refer to a rare occurrence. Doesn’t Whine by Blue Moon, a group exhibition on view now at Ochi Projects, grapples with the idea of tenacity and acceptance in an epoch seemingly fraught with anomalies. Featuring works by Arielle Chiara, John Divola, Zoe Koke, Ariana Papademetropoulos, Ser Serpas, Kamaria Shepherd, Alix Vernet, and Bri Williams, the curation’s ethos functions to unify disparate mediums implying states of degradation. A photo of red tide, a refracted woodshed in the forest, dollops of sharp-edged obsidian threatening to rupture the milky pools of silk upon which they rest. “Mutilation to a landscape, or home, is interpreted along different lines, altogether implying the shared impact of the current frenzied eco-political moment.” We are living in a blue moon era. – Rebecca Storm
Alix Vernet, Office Ruin (buried vertical), 2020 fiber glass ceiling tiles 24x48in and John Divola, Wonder Valley, CA, 4/27/2014, 3:35-3:40, 2014 Archival digital pigment print mounted to Dibond aluminum, welded aluminum frame with matching, set-backs and Optium museum acrylic, 30 3/8 x 54 3/8 in
Arielle Chiara, Dry Land is a Kind of Ocean in Waiting, 2020 obsidian and silk, 32x36in and John Divola, Intervention K, 2007, Archival digital pigment print mounted to Dibond aluminum, welded aluminum frame with matching set-backs and Optium museum acrylic, 36x44in
Bri Williams, Medusa, 2018, soap, carousel horse, rubber paint, rhinestones, 36x48in and Zoe Koke, Red Tide, 2019, C Print, 36x52in
Zoe Koke, Red Tide, 2019, C Print, 36x52in
John Divola, Intervention K, 2007, Archival digital pigment print mounted to Dibond aluminum, welded aluminum frame with matching set-backs and Optium museum acrylic, 36x44in
Zoe Koke, Surveillance ii, 2020 Aluminium, mirror, sterling silver chain 7x7in