Inspired by the double-consciousness, LaRissa explores the complexity of cultural identity in relation to blackness. Stemming from personal experience, she explores the in-between spaces and addresses issues she has experienced regarding identity as a biracial woman in America. Through the use of phrases, objects, or personal interactions, her work extracts discrepancies about the black reality compared to cultural expectations and biases. Being African-American and Korean has created a twoness, that is always conflicting and pulling at one another for cultural recognition and unified understanding. Though her skin is brown, she is also Asian. What does it mean to identify as black, brown, Asian, afro-Asian, hybrid, mixed, African-American, woman? Heavily influenced by personal experience, her work challenges these questions in connection to community, family, culture, gender, race and color politics.
LaRissa Rogers: Invisible Weight
Opening Reception: Saturday, November 9, 5-8pm
Closing Reception: Saturday, November 30, 5-7pm
Jessica Taylor is a photographer and sculptor whose integrated practice calls into question the lethal gaps in US gun legislation. Taylor’s work touches on the quiet destruction of her own family as the result of an accidental shooting between brothers, one of whom was her father. Her work also explores the trauma that physical objects can hold, and how the pain of one’s lived experiences can become long-lasting and intergenerational.
Riley Goodman, raised in the Patapsco River Valley of Maryland, inquires familial mythologies, folktales, and the greater history of America in effort to understand what endures, and subsequently how this endurance impacts his own presence in the canon. Goodman juxtaposes archival imagery and material from his personal collections of artifact and ephemera with the visual interpretation of researched, often folk-based, storytelling. When these elements combine, the resulting work forms a narrative that rather than noting a specific period, creates an ever-occurring amalgamation of time. By establishing this crafted world, Goodman forces the viewer to question the tenants of authenticity, leaving the idea of 'historical truth' in an undisclosed middle ground.