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Mixed Greens is thrilled to announce their third solo show with Alessandra Exposito. For this exhibition, Exposito will present a new series of narrative sculptures, including a life-sized horse skeleton.
Exposito has a long-standing fascination with trophy animals and mounted game. Instead of using traditional deer or elk in her work, she chooses farm animals and beloved pets—such as chickens or cats—that lack associations with rugged masculinity. Exposito uses paint, rhinestones, studs and sculpted antlers to elevate their skulls into powerful fetish objects. For this exhibition, she focuses solely on the horse, an animal with complicated and opposing associations: domesticated and wild, leisure and work, the object of affection of both cowboys and little girls.
In the south gallery, Exposito creates a fictional narrative history that unites a family of horses. Meticulous paintings on each skull reveal an intimate story in which tribute is paid to the animal and the people who owned and loved it over its lifetime. Decoration and detailing implies personality not usually attributed to a horse.
In the north gallery, the viewer encounters Exposito’s first complete skeleton. This horse, painted white and placed on a white floor with white walls, shimmers and nearly disappears. Adorned with sculpted flowers, birds and other decoration, the sculpture is Exposito’s vision of the afterlife and an arresting memento mori. | | | |
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Mixed Greens is thrilled to announce their inaugural exhibition in the Glow Room Project Space: Carol Salmanson’s Diaphany.
In May of 2005, Mixed Greens announced their arrival at 531 West 26th Street with glowing green windows. Over three and a half years, the unexpected surprise faded into a tired constant. On November 13, Carol Salmanson will debut a new piece in the windows, transforming the Glow Room into an exciting new location for light projects.
Salmanson’s work combines spatial and color concerns with architectural and theatrical elements. For Diaphany, she utilizes various colors of light to create a visually engaging pattern that mimics existing architecture and uses the space’s permanently installed scrim to its greatest advantage. The resulting piece is reminiscent of a fabric pattern, a map, an architectural plan, a color-coded information system or the back stage of theater.
Salmanson’s work is the perfect debut for the project space. As someone with hereditary hearing loss, Salmanson has special interest in the non-verbal communication of emotion and a history of tapping into the energy and intensity of those things we take for granted. Through light, she explores unconscious perception and is the perfect candidate to change the experience of a walk down 26th Street. | | | |
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