Beatriz Monteavaro: Ouroboros

Jan. 11, 2014 - March 1, 2014
Opening reception Jan. 11, 2014, 6 p.m. - 9 p.m.
at Emerson Dorsch

This exhibition is the result of a meditation on the relationship between sound, energy and alchemy. Much like the ancient myth of Ouroboros, depicted by a serpent or dragon eating its own tail, it is a symbol of self-reflexivity or cyclicality.

My identities as both an artist and a musician, which otherwise remain separate, feed into one another within this body of work. The three large sculptures are collaged with band flyers, some of which were originally drawings. Often seen as less sophisticated and more egalitarian, flyers are freely distributed and posted. The use of these same flyers in the making of this new work brings up questions of value, object-hood and creative output. This concept is taken a step further in the re-use of existing art pieces as raw material including old paintings, drawings, photocopies, and misprinted cassette tape j-cards along with cardboard boxes, kitty litter boxes, junk mail, an incomplete bible, and magazines.
My aesthetic choices are influenced by action figure playsets and children’s play houses, specifically the fantasy and post apocalyptic landscapes of the He-Man and the Masters of the Universe toy and cartoon property as well as my experience as a musician in the Miami scene.

Castle Churchills: Fortress of Mystery and Power incorporates elements of both. A large scale drawing cut down into squares, applied mostly to the inside of the structure and partially blacked out, depicts He-man and Skeletor creating a vortex of sound through sorcery and a drum. The rest is covered with show flyers that have or will be taking place at Churchill’s Pub in Miami. Some of which were designed by other Miami musicians including Rick Smith of Shitstorm and Torche, and Jean Saiz of Shroud Eater.

Gramps Mountain: Evil Stronghold of Gersten is a reinterpretation of Gramps bar, a neighborhood fixture located directly across the street from Emerson Dorsch. The inside of the piece is lined with fragmented versions of flyers for a Holly Hunt tour that had its kick off at Gramps this past October. The outside is covered with Black Cobra flyers, which I designed for a show we played there during Basel.

Clubhouse, began as a reflection on the possible post-apocalyptic outcomes of the value of art. Here, paintings, drawings and show flyers are used as building materials for a shelter. The result has morphed into more of a Little Rascals type clubhouse, spaceship or resonant chamber that is meant to denote an actual show space and embody the DIY nature of alternative music scenes everywhere.

Ouroboros is a commentary on obsolescence, intended audience, scarcity, and collect-ability, while paying tribute to the bands represented, the aesthetics of the flyer makers, the venues, and the Miami music scene as a whole.

Photo credits: 1-50: Jordan Marty, 51 & 57: Beatriz Monteavaro, 52, 53, 54: Jill Weisberg, 55: Kevin Arrow, 56: Teajay Smith

Miami Rail review of Ouroboros

Huffington Post exhibition preview