Knotted between feature and sequel. Seasons agape, and buoyant.
At Bennett Park, rubber boots on a persistent knoll, sucking kelp shake from a stainless steel straw, snorkeling.
Today's charms are yesterday's, are tomorrow's and your children's charms, also. the forecast is forsaken, send tweet.
Calaboose is pleased to present Red Sky at Morning, featuring the work of Marlon Kroll (Montreal, Quebec), Catherine Telford Keogh (Toronto, Ontario), and Joani Tremblay (Montreal, Quebec). Referencing an age-old maritime rhyme, the exhibition offers a speculative meditation on the evolving relationship between humans and water in the wake of climate change. As rising sea levels become an increasing threat to New York City, Red Sky at Morning is a premonition; a near future where neighborhoods submerge as tides ebb and flow over basketball courts, apartment complexes, and bookshops.
Kroll’s interest in cyclical systems and hydrophobia emerge in new illustration, sound, and sculpture. Fans are found inClimate Control (2019) depicting a fictitious geoengineering project designed to lower the Earth’s temperature by evaporating water at a cosmic scale. Rendered here as science fiction, Climate Control mimics real-life “solutions” to climate change currently under development. These fans are heard in Vapour Room (2019), a closed door emanating a sound collage and a red glow.
Telford Keogh’s sculptures exist as cross-sections of capitalist ruin. Dill pickles, Q-tips, hot peppers and Dial soap, among other items, are suspended in an engorged pool, reflecting accelerated habits of consumption and disposal. On the West wall, layers of images and text are tinted by chemical detergents. Encased, these everyday objects become relics of another epoch. Equally confined, Demeter XAquaBrickX ( 2019), h ouses Kroger® Red Delicious Apple scaffolds cut into alphabet letters containing MCF-7 mammary cancer cells transfected with jellyfish DNA, drawing our sensitivities towards the development of new chimeric-chthonic entities at the micro level.
Layering deep oceanic and cold concrete tones, Tremblay’s works of oil on linen trace an unsettling harmony between the manufactured and the natural. As these material worlds collide, new and polluted landscapes emerge where labels and styrofoam packaging coexist with mutating flora, fossils, and frogs. Her paintings forecast the developing textures of plant and animal species as they adapt to harsh meteorological changes.
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