Visual Tensions | Parasitic Honeyshoes | Letting Yourself Go - Maine College of Art

On view from April 5 – 26, 2019
Exhibition Opening: Friday, April 5, 2019, 5:00–8:00pm
Institute of Contemporary Art at Maine College of Art
ICA Gallery hours: Wed–Sun, 11:00am–5:00pm, Thurs, 11:00am–7:00pm, Friday, 11:00am–5:00pm, (FFAW until 8:00pm)

Visual Tensions
Séan Alonzo Harris

Visual Tensions is a collaborative photography project that brings community members together with members of law enforcement. African American photographer Séan Alonzo Harris creates photographic portraits as a means to foster relationships and build bridges between people of color with members of law enforcement. The project provides a platform to cultivate mutual respect and transform our images and perceptions of others.


Parasitic Honeyshoes
Greta Bank

This site specific installation is a multi media theater, staging a large painting with sculptural objects. The project is intended for an audience to see in 15 years, implying that our present is responsive to the future.  It is accountable to another reality.

Parasitic Honeyshoes is a wide reaching visual essay implying the possession and corruption of the material and spirit world. This is a testimony to the parasitic nature of whiteness within the human species, portraying the culture of cannibalism that sustains a hierarchy consuming all energy.   This narrative is staged in the macro and micro scale, placing the viewer as both smaller and larger than the frame rewarded. Capitalism is a spiritual crisis for all species.


Letting Yourself Go
Philip Brou

Letting Yourself Go is a new project by Philip Brou investigating ideas of selfhood and the human condition. The project is rooted in a critical examination of the famous story of Polyphemus, the cyclops from Homer’s Odyssey. In Odysseus’ epic journey to return home, he and his men are held captive in Polyphemus’ cave. As part of a plan to free himself, Odysseus concocts a lie: he tells Polyphemus that his name is Nemo, which translates to Nobody. The presence of the Nobody, as a persona used to escape captivity, dismantle the archetype of the hero, and confront the ego, is a concept at the core of Brou’s project. Letting Yourself Go consists of paintings, drawings, sculpture and found objects. All works function as either portraits or utterances of Nemo, which is to say: portraits or utterances of Nobody.