FUTURE STARTS SLOW
“In this culture, people who want to hold on to power realize that they have to control memory—past, present, and future,” Gretchen Bender, Untitled journal entry
Future Starts Slow takes its name from the 2011 song written and recorded by the British-American band, The Kills. A piercing, fast moving guitar cuts through sound and time as the band sings, “ I could never get back up when the future starts so slow.”
Future Starts Slow is an exhibition comparing and contrasting captured moments and alternative segments of time and space. Curators Christin Graham and Sam Trioli present the works within the exhibition as metaphorical portals, reflecting and expanding experiences and ideas.
Seven included artists cross individual frequencies of ideas, emotional connections and visual movements of space and time. The many parts of this exhibition function together like a musical composition. They collect in a raucous multitude of moments, actions, memories and experiences to yield endless visual and emotional complexity. Conversely, each piece has a border, an edge, or a definitive moment where it starts and ends, a reference point for our natural search for definition.
Future Starts Slow translates these ideas through painting, photography, drawing and sculpture. The carefully selected group of works applies a pluralistic framework to the exhibition. Rather than apply brilliant touches of abstract painting by Nathan Dilworth and Taylor O. Thomas, or the powerful and commanding minimal work of Erika Mahr to one singular narrative, the individualized meanings consist of multiple, parallel states.