No Place Like Home
Jaime Bull, In Kyoung Chun, & Maryam Palizgir
On View: July 20 - September 7, 2019
Opening Reception: Saturday, July 20, 6-9 pm
HATHAWAY is proud to present No Place Like Home, a three person exhibition of works by Jaime Bull, In Kyoung Chun, and Maryam Palizgir. Bull, Chun, and Palizgir’s practices edge on the idea of home in visually different yet convergent methods. Chun and Palizgir, both immigrants to the United States from South Korea and Iran, respectively, address home by exploring reality and identity. Palizgir plays with real and fictionalized spaces, often conflating and overlapping the two. Many of the shapes she uses are sourced from Islamic architecture, particularly dwelling and worship places. Chun draws and paints delicate scenes of everyday life, floating between representation and abstraction, reflecting a similar feeling of existing in between spaces and countries. Bull, a Georgia native, uses furniture and other aged home objects to create quicky, fanciful forms of nostalgia, which like Chun and Palizgir’s work, tend to blur the line of reality. The results of the three artists stand together as lighthearted and unconventional reimaginings of how we shape and reshape identity and the definition of home through past experiences.
Jaime Bull builds a cast of sparkly clad forms that embody a strong, sexy, dangerous female presence. She is a collector and uses found, repurposed materials in her work to reference the body with a feminist perspective. Spending her time dumpster diving at the recycling center or scouring Goodwill to amass second-hand tube tops and sequined prom dresses, Bull’s sculptures have the rhinestone aesthetic of a bedazzled jean jacket or a Mardi Gras float. She examines and questions our relationship with the environment by highlighting a preoccupation with hoarding mass quantities of “stuff."
Bull received her MFA in Drawing and Painting from the University of Georgia, Athens in 2013. She is a recipient of the Willson Center for the Arts research grant for her thesis work Lady Beasts: An Investigation of Womanliness. She has exhibited in Atlanta with Doppler Projects, MINT Gallery, Mammal Gallery, Whitespace, Camayuhs and at Hartsfield Jackson International Airport. Regionally, she has shown work at the Zuckerman Museum of Art, University of North Georgia, Auburn University, Albany Museum, the COOP Gallery in Nashville and all over Athens, GA. She is a Vermont Studio School Fellow, attended a two-month residency at the Bernheim Arboretum in Louisville, KY and was an Atlanta Contemporary Studio Artist in Residence. She was featured in and on the cover of the 219th edition of Ambit Magazine, London. She currently lives in Athens, GA and teaches at the University of Georgia.
Born in Seoul, South Korea, In Kyoung Chun received the Emerging Artist Award 2012-2013 by the City of Atlanta Mayor’s Office of Cultural Affairs and participated in the 2013 WonderRoot Walthall Fellowship. Chun has participated in exhibitions including the High Museum of Art, Athens Institute of Contemporary Art, Museum of Contemporary Art Georgia and Gallery 72 of Atlanta Mayor's Office of Cultural Affairs. In 2018, she did a site-specific installation for “Golden Hour” exhibition at the Historic Oakland Cemetery, Atlanta, GA and showed in “Inside the Perimeter” at the Hartsfield-Jackson Atlanta International Airport. Her inflatable sculpture ‘Lotus’ for the “BuHi Lights” was up in Doraville, Georgia. She also participated in “InLight 2018” at 1708 Gallery, Virginia Museum of Fine Art, Richmond, VA. This year, she participated in the exhibition “Home Tour” at Albany Museum of Art, Albany, GA., “ Color and Comp” at Gallery Hotel Indigo, Athens, GA, and “Fulton County Art Acquisition Exhibition at Gallery Space, Atlanta, Ga. Chun’s inflatable sculpture ‘Lotus’ was installed during SuperBowlATL weekend in downtown Atlanta. Recently she participated in the “Gathered VI” at MOCA GA and “Listening to the Waters” at the Blue Heron Nature Preserve. Chun’s painting has been included to its permanent collection of High Museum of Art, the City of Atlanta Mayor's Office of Cultural Affairs and Fulton County Public Library of Atlanta.
Maryam Palizgir is an interdisciplinary artist and educator born and raised in Iran. She received her MFA from Georgia State University in 2018. She has presented her work in solo and group exhibitions in the United States, UK, France, Russia, Germany, and Iran. Palizgir’s work has been featured in many major publications. She has been chosen as one of the artists who pushes the boundaries of photography in Photo London fair 2019. She won the first prize for conceptual arts in the 6th Iran International Green Film and Visual art Festival (IIGFF6) and was an artist in residence at the Cornelius Art Foundation in Lagamas, France in 2014 who received a Triangle Network grant in London. Maryam Palizgir practice is an amalgam of subject matter process study and material- manipulation of forms in space. She seeks to capture the tensions existing between traditions and contemporaneity, reality and aspirations, individuality and community, localism and universality, authority and freedom, conformism and self-expression. She is preoccupied with finding new ways of seeing through the experimental cross-fertilization of drawing, printmaking, sculpture, painting, and photography which stimulated a philosophically oriented questioning of vision and perception.
Exploring the ways we exchange knowledge, and how perception widens our perspective, and how observation deepens our understanding of the reality in which we live. She challenges viewers’ perception and seeks works of art that activate once the viewer is involved. The material study steers her to think about the flexibility of materials. Palizgir has been working with multi-layered industrial materials like fiberglass screen mesh, reflective sheets, natural and artificial light, and acrylic paint. The net visual embodiment of her installation creates a transition of dimensionality, depicting the state of ephemerality and constant change, combined with the possibility of the viewers’ displacement.