Pushkin Roberts Anthology

Gale Encarnacion

10 December 2022 – 08 January 2023

Curated by 

10 December 2022 – 08 January 2023
Pushkin Roberts Anthology | MO_Space

Pushkin Roberts Anthology is a show very dear to my heart. It is a collection of works, each based on and titled from a short story that I’m particularly fond of. I think there is something strikingly visual about a good short story which makes it really fun to base art works off of— sometimes a phrase will remind you of a certain image or material and then it just goes from there. Since this is an anthology, I had Philip Aldefolio write a short story in place of an exhibition essay so that it functions as another one of the works in the collection.

Dip in the Pool is a story about a man who makes an ill-informed bet with his life savings aboard a cruise ship. For this work I cast a toy slot machine with pigmented wax; I tried to find the reddest red that I could. (The story ends badly.)

Tobermory is a story about a genius talking cat who puts a town’s social dynamic at risk by being blunt about the pretentious behaviors of the townspeople. The work is about the standard size of a mousehole, at least based on my research from watching many hours of “Tom and Jerry.” This was made with graphite on plaster.

Mildred Fierce is decidedly not a short story but here it is anyway. It is Carol Burnett’s spoof of the movie “Mildred Pierce,” and it makes me laugh. I wanted to make a work that was funny and feminine, soI stuck faux fur onto some size 6 shoes and put a miniature fake tree sideways into the wall. Because everyone knows that the two most feminine things in the world are: 1. Faux fur, and 2. Sideways miniature fake trees.

The Nine Billion Names of God is a story about a group of monks who discover how to build a machine that can generate and printout every single one of God’s names. Once the last name is printed the stars in the night sky grow dim. For this one I painted an illustration from an old astronomy book—old enough that it’s from a time where we weren’t even entirely sure how the sky works yet.

I think that stories and visual art have similar functions, that the meaning of them doesn’t come from anything the writer or artist intended or said, but from how the reader or viewer experiences it for themselves. One time I got to talk for a bit with Lani Maestro and she said that the artist’s task is to ask the questions, not give the answers. I hope with this show I’ve asked you some interesting ones.

Gale E.

Exhibition Documentation

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  • The Nine Billion Names of God
    Oil and color pencil on canvas
    54" x 48" each (diptych)
    2022
  • Dip in the Pool
    Pigmented wax
    Size variable
    2022
  • Bernice Bobs Her Hair
    Watercolor and color pencil on plaster
    19" x 19" x 1"
    2022
  • Tobermory
    Graphite on plaster
    5" B x 8" H x 1" W
    2022
  • Mildred Fierce
    Faux fur, velvet, fiberfill, shoes, miniature tree
    Size variable
    2019
  • The Coconut Poem
    Cotton linen, fiberfill
    Size variable
    2022
  • Pretty Mouth and Green My Eyes
    Soft pastel on wall
    15" x 11"
    2022
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Exhibition View

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Video Catalogue

About the Artist

About the Artists

Gale Encarnacion

Image courtesy of Ateneo Art Awards
Gale Encarnacion

Gale Encarnacion’s work is characterized by a scathing awareness of impermanence. Her intermedia pieces call attention to the frailty of the human body, as she makes use of ubiquitous / ordinary materials such as bread, salt dough, and bubble gum. Gleaning themes and subject matter from the organic, the scientific, and the fleeting, she paints and sculpts biological entities—insects, body parts, roadkill—and uses them in narratives that outline the persistence of time. Her work is the result of a fascination with our flesh and breath and spit and the accompanying guarantee that eventually we all will be gone.

No items found.

About the Artists

About the Artist

Gale Encarnacion’s work is characterized by a scathing awareness of impermanence. Her intermedia pieces call attention to the frailty of the human body, as she makes use of ubiquitous / ordinary materials such as bread, salt dough, and bubble gum. Gleaning themes and subject matter from the organic, the scientific, and the fleeting, she paints and sculpts biological entities—insects, body parts, roadkill—and uses them in narratives that outline the persistence of time. Her work is the result of a fascination with our flesh and breath and spit and the accompanying guarantee that eventually we all will be gone.

Gale Encarnacion

Image courtesy of Ateneo Art Awards
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