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Click here to view Christina Mazzalupo's online portfolio.

Mixed Greens is pleased to present Christina Mazzalupo’s fourth solo exhibition with the gallery. Stomachache is a multimedia exhibition quantifying and categorizing the eight weeks leading up to her 40th birthday.

Over the past six years, various alternative healthcare practitioners have requested Mazzalupo keep daily journals listing food intake and physical symptoms. This tracking had mixed results: some relationships offered clarity while others produced only confusion.

During the summer of 2009, a few months before her 40th birthday, Mazzalupo decided to once again record her daily routines. This time, however, she expanded her subject matter to include emotions experienced, medications and supplements taken, fears, and travels. She also noted various decisions and significant topics that arose.

For the show, the results of her extensive, pseudoscientific data collection are translated into eight drawings—one to represent each week. These are accompanied by interpretive oil paintings and sketches, along with a video of over one hundred words associated with the endeavor. Charts from the collected data (pie and others) exist as unique clay sculptures.

The objective of the project was to determine whether looking so scrupulously at the minutia in her life would provide a logical method of problem solving or become the source of greater disorder. As Mazzalupo puts it, “we often feel a compulsion to plunge into our habits and let the chatter of our minds run wild, to dissect and reassemble in order to figure it all out.” Mazzalupo engages and chronicles this running wild and all of its by-products. The result is a darkly comic look at the act of paying attention.

 
 



Mixed Greens is pleased to announce a site-specific window installation by Travis LeRoy Southworth. In his first solo project in New York City, he will use all three of Mixed Greens’ exterior windows to create one large, glowing Duratrans piece.

Growing up in a military family, Southworth developed an interest in shifting space, both physical and emotional. Working as a photo-retoucher, he eliminated imperfections such as blemishes, shadows, dust and the other unsavory elements in photographic portraits. As an artist, he combines those two very disparate parts of his life to make artwork that moves beyond conventional representation and redefines portraiture.

For this site-specific project, Southworth photographed the faces of twenty-four individuals—mounters, collectors, curators and artists—whom he met in the art world since moving to New York two years ago. Then, utilizing his photo-retouching skills, he developed a meticulous and satisfying process that left only the imperfections in each photo. The resulting collection of fragments and stray marks becomes the final Twomblyesque, minimalist, digital portrait.

Where I End and You Begin #3 combines all of these fragmented portraits into one finalized work. Southworth’s “self-portrait” lives at the center of the piece and the other “portraits” spiral out. A solar system begins to take shape with the people he knows best orbiting closest and those less familiar living at the outer fringe.

Inside the gallery, visitors can view a video project that animates the erasure and ultimate explosion of Southworth’s self-portrait. Over the course of the animation, his complete portrait dissolves and is swallowed by the white of the screen. While the window installation is a clean, lyrical representation of Southworth’s art world, the video highlights the more tedious and absurd aspects of digital manipulation. It demonstrates the compulsive process and more performative elements in the work.

 



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