As 2018 brings us one of the most politically, socially, and culturally-charged years yet, artists now, more than ever, are called to action to reveal the uncomfortable truths plaguing current events. New Now inaugurates InLiquid’s newly acquired gallery space located at Crane Arts, featuring 40 artists across varying mediums.
Heather Sincavage explores questions of the Self, prompting viewers to engage—or not engage—with her works that present the subject without presumptuous constructs. As fellow humans, we share a desire for longing, a ubiquitous idea in Sincavage’s works both presented to and asked of the viewer.
“Selected engagement includes the power of Silence. I view Silence as a form of activism- one where power lies in earning the trust of the viewer. This exchange suggests a willingness to be understood through the politics of communication. My work is intentionally spare, tedious, and sometimes monotonous…This allows one to consider their personal stance on said concept and become involved- cerebrally, emotionally, and conceptually.”
In the digital age, reciprocity and genuine engagement is an uncomfortable thing to ask for, particularly under the weighty pressures of acknowledging how our emotional selves relate to each other, as well as society as a whole. Sincavage’s use of the body relays her ideas that are immediately relatable, yet unflinching. Viewers “become part of the work by either choosing to engage or ignore, thus validating the politics of the work”.
Brent Crothers‘ strenuous process calls to our destructive relationship with the natural world:
“What I do to voice my concerns, dreams, and questions is to wrestle, rip, stack, bend, wrap, tie, bind, burn, hang, pile, cut, chisel, nail, solder, weave, bolt, drill, beat, and grind materials in such ways to create sculptural forms that have their own stories to tell. These pieces are part of a searching dialogue between me and the world. At the root of this work is a respect for nature and all the materials that surround us. More and more, I’m incorporating unappreciated and discarded materials, transforming them into small communities to create forms and giving the materials new life. ”
Concerns about manufactured waste and the practicality of recycling are hotly debated as oceans and landfills expand their weight in man-made material, some of which is used in Crother’s works, such as brass keys and copper wires piled on top of an old piece of wood from a tree cut down years ago for a new property.
Ada Trillo‘s featured work exposes a facet of humanity many of us choose to turn a blind eye to. It is as gut-wrenching as her “humbling” experiences documenting the sex trade industry in her hometown of Juarez, Mexico.
“Over the course of three years, I tried to photograph the same women—it was difficult to witness their bodies deteriorate due to drug use, mostly heroin, and to learn that two young women I had been documenting had been killed. The images are intended to be as stark and moving as the lives of the women portrayed, exposing an unpleasant reality that needs to be exposed and addressed…My hope is that the work will make an impact on viewers, moving them to action and making a difference for the women in Juarez and in the sex trade industry the world over.”
