SPY Projects presents Duets in Color Breathing, a group exhibition curated by Shay  Myerson, on view May 27th - June 17th. The opening reception will be held on May  27th, from 7-10pm, at 3709 W Jefferson Blvd, Los Angeles, CA 90016 

Duets in Color Breathing 

There is a psychodramatic technique called doubling wherein an auxiliary ego stands in  for someone's interior world. A reverse echo, stretching itself into lucidity rather than a  progressing obliteration. It’s dicey, the role of the double, and not uncommon to unearth  unconscious parts of oneself by impersonating another. 

When in relation to others the double can jump. Like a river moving banks to run faster  to the sea. Roles revise, splinter off and shatter. 

Duets in Color Breathing considers the double— accidental, intentional and  camouflaged by its traces. To read these traces is to make copies, and to make copies  is to attempt to speak to ourselves. Like breath on a mirror, by way of vapor, to find  proof that we are here. 

Coral-colored metal tubing makes up one-half of Natalee Decker’s simulated serpentine  rollator. Reminiscent of a bead trace toy or a synaptic blast frozen in time, welded  twisted tubes spin out, helix-like, revealing a path towards palladium spheres: wheels. 

Raw stone makes an allusion to itself, in Cara Chan’s familial bust. A stone within  “stone” activates an anthropomorphic landscape forming a dialogue between  genealogical likeness and geological time. 

The repetition in Amelia Baxter’s irrigated clay forms resemble arches, arteries and  animal feelers. The recurring pattern calls itself into a three dimensional being,  generating a sense of vibrant oneness, from the many. 

In Rocki Swiderski’s visual ebullitions of quotidian drama, slivers of scenes emerge, like  feathered apparitions, on the painted surface. Saturated yet full of air, the two paintings,  side-by-side, cross examine their spirited worlds. 

The spider and the spiral, in Sophronia Cook’s wall mounted sculptures, capture an  alchemy of materials succeeding their state change: aluminum, resin and soldered  metal. Like a multi-dimensional scan in real time, we see from varying vantage points, as  if in a dream, or inside shut eyes. 

Lucie Baker’s diptych prints find respite in themselves, over and over again. With a  simultaneously loose yet exacting line, these prints, of wrought iron, weather— the  butterfly—, straddle the ethereal and its record.

Cameron Cameron’s recycled fruit netting curtain nods to the pageantry of everyday  ephemera. The iridescent beetle, the clamshell (tied by a neat blue ribbon), the framed  photograph of a figure, merging with a lake landscape— evoke a theater of the  impedimenta. 

A metallic tapestry, woven with razor-thin aluminum, speaks in a Cartesian yet craft based language. Cara Levine’s weaving extends out of itself in a hyperbolic shift,  forming two eyes, sleeves, or passages— tunnels to a future-past in which material as  tough as metal becomes soft and silken. 

A long legged arachnid-esque figure finds itself in a room, almost alone, in Jaxon  Demme’s minimally decadent painting. It’s a quickness of hand and an imbued fire  that forces this painting to be seen, as if made, in one single colorful breath.