Laleh Khorramian: Unearth
April 13, 2019 → May 26, 2019
Opening Saturday, April 13, 2019, 6–8pm
SEPTEMBER is an evolving platform for artists of diverse disciplines. The gallery is committed to engaging the surrounding community, while hosting artists predominantly from Upstate to Brooklyn to Boston. In the first two years, over 200 artists have exhibited at the gallery. The spirited ethos and activity of SEPTEMBER includes performers, academics, activists, chefs, curators, writers, and other creative thinkers, makers and doers. SEPTEMBER was founded by Kristen Dodge in 2016 and is located in the Arcade Building at 449 Warren Street #3, Hudson, NY 12534.
The gallery will be closed for the winter and re-opening on Saturday, April 13, 2019. Regular Hours: Thursday-Sunday 12-6pm and by appointment.
We are pleased to present Laleh Khorramian: Unearth, a solo exhibition of new work spanning two locations in Hudson, NY: September Gallery and Elizabeth Moore Fine Art. A commissioned essay by Media Farzin accompanies the exhibition.
Khorramian is an Iranian-American artist, born in Tehran, and raised in Orlando, FL, the epicenter of America’s synthetic world of storytelling. Her work merges painting, printmaking, collage, animation, textile, drawing, and installation to tell the story of an alternate universe that has been conjured and revealed via the course of Khorramian’s own exhibition history. Her current revelation of the fictional and futuristic civilization of Golis (a microbic landing point in the cosmos) exists in two locations. Khorramian invites the viewer to physically navigate the respective sensorial installations, to travel on foot from one location to the other, and to exercise memory to inhabit the space in between.
At SEPTEMBER, Khorramian has built a large-scale skeleton of a structure that once functioned as a portal for the Rola, a mysterious, migratory people who left the Planet of Golis millennia ago to escape persecution upon their own planet. Some view the Rola as metaphorical myth; others believe them to be real. Ceremonial wardrobes that Khorramian tailored and embossed, stand positioned as majestic shells of figures. Are they protecting the portal, or welcoming us to join the voyage? A room large enough for a single figure to inhabit offers a space of solitude and psychic transportation through altered angles, diffused, psychedelic light, and an ambient recording of the story of a Rola myth. Altering the walls with vertical washes of color, Khorramian has painted a visually immersive backdrop for her portal and figures. Large-scale collages punctuate the space: flat constructions of monoprints have been cut and assembled to evoke decayed futuristic structures. On closer inspection, the structures themselves bear universes within their own totemic forms. West-facing window pieces greet the viewer as they enter the space. Cut-out messages and punched-out holes resemble analog ticker-tape. With gel-filtered light shafting through the collaged scrolls, these entryway pieces resemble stained glass, casting an aura of solemnity into the viewers transitional experience from the outside world to Khorramian’s alternate, inner world.
At Elizabeth Moore Fine Art, the viewer enters into a domestic setting thickly installed with a forest of kimonos suspended at human height: a crowd of ghost figures gently swaying as passing visitors shift the air in the room. In her essay, Farzin writes, “The textiles’ printed and painted designs are distinctly space-age, resembling planetary constellations, secret codes, or blueprints for mechanical assemblages.” In Khorramian’s universe, the kimonos are ceremonial uniforms worn by the inhabitants of the Rola people that reflect their role in society. Are the uniforms bearing messages to be received in the future, which is potentially now? To the right is a den with a brick fireplace lit by the glow of Khorramian’s video, Correspondence, a poetic, typed communication between universes. Down the hall, past the stairway, a grid of drawings penned in colorful ink fill the eye. Are these calligraphic landscapes transmissions of the imagination, or are they evocations of unnamed places that may have existed?
Khorramian is inviting us to enter her imaginative, alternate universe, to sort through the artifacts and experience the unknown. Taking the exhibition as a whole, we find orchestrated fragmentation: traces, remnants and afterimages, successive sheets of overlay that coalesce into a world as strange as it is eerily familiar. Khorramian is unearthing our subconscious, journeying us through a realm that is, perhaps generously, not of this earth.