↳ Exhibitions

David Flaugher and Sophie Stone at The Sunroom

March 26, 2017

Artists: David Flaugher and Sophie Stone

Exhibition title: The Gilded Catalogue

Venue: The Sunroom, Richmond, Virginia, US

Date: January 28 – March 5, 2017

Photography: images copyright and courtesy of the artist and The Sunroom

I began the day hearing the voice try to take on layers and speak about poetry and speak about prose and be a loose figure that people wanted to write about but no one wanted to be. The voice had all these responsibilities, but everyone was forgetting about it at the same time. You could write a poem that was the repurposing of another poem – a text that was perhaps found in a catalogue for farming equipment, that you lifted up and placed on a new page with your name on it – you could use tractors to show your thinking and wouldn’t have to say “I” and wouldn’t have to say “please” about anything. You wouldn’t say, “Please can I write the story of this light bisecting the room, where a person walks in and stands, not knowing what to do.” You’d just say something like, “Tractors la la la, thousands of dollars,” and write your name. Maybe erase it an then rewrite it. Maybe change the typeface of your name. Make the font small. Add shadow to the third and sixth letters. You might write “Mr. So-and-So” instead of your name. But the voice was getting away from us. First it was everything and then it was nothing, though it was the same language we were using. We stopped talking about the poem as though someone were inside it, then we stopped talking about the poem altogether, or at least stopped expecting there to be a body relating to the poem, at risk. It seemed possible to say anything, especially if someone had said it before, and it was these words of that other person that we put in place of our voice. People were doing this then saying the word internet and waiting to hear a response. The response came: people had lunch; they found language everywhere. The menu said “Fries,” and this was taken, put on a page next to “Omaha,” punctuated by a date. We wanted to map instead of talk; we wanted to silence something and open something. There was so much detritus building up: it needed to be written; it needed to be used. Someone wanted to laugh at it. If you could find the space to laugh, then that voice inside you – the one that went “Please, can I” – that voice might lean back and read the newspaper. Time would go by, and structures would be laid on your name.

Text by Renee Gladman.
Gladman, Renee. Calamaties. Wave Books, 2016, pp. 85-86.

Sophie Stone, Gingham on Gingham, 2016, Canvas, cotton, and house paint, 111 x 75 inches

Sophie Stone, Double Runner, 2017, Cotton, acrylic, sisal, and house paint, 143 x 73 inches

David Flaugher, Thee Starry Night, after Velazquez 1889, 2017, Lottery tickets, acrylic and silver leaf on cardboard, 40 x 30 inches

David Flaugher, Voted Best Seafood by Macomb Daily, or Hudson Bay Toad, 2017, Watercolor, lottery tickets, silver leaf and graphite on cardboard, 61 x 60 inches