1400 North Miami Avenue
Miami, FL 33136
Centred on the polarities of love and loss, life and death, memory and mortality, each artist’s work is primarily concerned with the passage of time and the continuum of grief. Occupying different ends of the painting spectrum – from abstraction and verisimilitude – both Eichwald and Storm draw inspiration from photography to examine temporal semiotics and so conjure the somatic experience of memory. Tagiuri’s works meanwhile challenge the passage of time in arresting, and at times visceral, evocations that span painting, drawing, performance, film and woodcarving.
Katelyn Eichwald paints with oil on rough canvas and linen, scrubbing into the woven surface like she’s trying to remove a stain. Instead, she is left with the opposite – an almost archaeological image sunk deep into the fibre of the painting. Maybe it is a drink in a man’s hand, or a tangled rope, or the house at the end of the street with no lights on. It could be a French braid or a castle. Eichwald often uses screenshots from TV and film to find her subjects; as a result, the work is both intimate and withholding, trapped in a moment and hovering outside of time and memory, like a stopped watch on your own wrist.
Rebecca Storm’s new series of paintings delves into the concept of grief, which she sees as a challenging yet fertile emotion. Across her works, Storm cultivates a reverence for impermanence, focusing on objects that trigger and harness memory. She believes grief forces us to remedy our inner turmoil. By observing possessions through the lens of grief, Storm highlights the fragility of the material world in the face of existential crises. She is interested in contemplating how we are often unconsciously at the mercy of these forces, and how they ambiently flavour the nature of our lived experience. Occasionally referencing a collective visual vernacular, in addition to experiences that are deeply personal, her work is as much about reckoning with the oppression of time as it is interested in cultivating a reverence for impermanence.
Orfeo Tagiuri’s multimedia practice intertwines emotion and memory, crafting a vivid montage of love's fragile dance. Symbols of pain, piercing nails and dripping blood, lay bare the rawness of inner wounds, while curling fallen leaves suspended mid-air and crisp anemone blooms frozen in wood defy the passage of time. As much as Tagiuri’s work wrestles with time, so it is engaged in dialogue: delicate angelic wings suggest the ephemerality, and evoke a sense of healing, transformation and rebirth. The presentation for NADA Miami will feature three new wood-carved works by Tagiuri.