LIZZY DE VITA
THE SKY TOO DREAMS OF REST
FEBRUARY 19th - MARCH 13th
"Our sky, bereft. Our heartmuscle, lit into blue flame.
We gnaw for that light that lies beneath our skin.
We've turned to flames
Like a house burning itself from the inside out."
Ansel Elkins from "Blues for the Death of the Sun"
The Chimney NYC is pleased to present “The Sky Too Dreams of Rest” of American artist Lizzy de Vita.
Should the sky feel a longing to be other than where it is ... where can one go? Can one blame it for falling, having held us for so long? And once it slinks down around your ankles, where are you then?
Catastrophe, if we’re lucky enough to survive it, gives us an opportunity to reexamine our world and who we thought we were within it. For Lizzy de Vita, much of what is meaningful in our lives occurs outside of the structures our more cognitive selves can envision.
De Vita’s practice takes everyday moments and attempts to startle them out of their settled place in the logical, predictable world. Deliberately mis-placing recognizable relationships within other structures, her work creates disjunctive collisions that allows other meanings to emerge. De Vita’s work creates small catastrophes, situations where the world does not follow our assumptions of relationality – “I am inside, so that, out there, is outside” – and so allows us to see them as fragile, porous, impermanent.
“The Sky Too Dreams of Rest” is comprised of a constellation of video, performative, auditory and sculptural vignettes – glimpses into moments where a comfortable order is tacitly disrupted, or complexified by circumstance. She employs conceptually radical scale shifts; a reflective, yet semi-transparent “wall” of emergency blankets used by war refugees and trauma victims is abutted against an interview with a bed-bug exterminator, and bizarre pedestrian choreography. As these images come into and out of focus, the ground beneath our feet becomes increasingly unstable.
Yet, in spite of their collisive-ness, these vignettes moil into a complex cosmology that playfully, but earnestly examines ideas of place, home, and identity, and the inherent instability of each.
Events at The Chimney during de Vita's exhibition:
Performances with Andrew Chapman, David Glista, Meg Weeks and Megan Wright
February 27th & March 4th: 7:30-9:00pm (open to the public)
"Negotiating Space: Considering Interiorities and Displacement"
A Conversation with the Artist & Guests led by Jennifer Houdrouge :
February 26th, 7pm-9pm.
About Lizzy de Vita:
Lizzy De Vita's practice focuses on how the formation of our many selves, triangulated through our relationships with others, is alarmingly illogical yet also creative of profound, inarticulable empathy. Her work focuses on how individual identities shift, bloat or dissipate through physical, situational, linguistic and psychological collisions.
Raised in Pittsburgh, Lizzy received a BA from Barnard College in English Literature and Art History (Visual Arts Concentration), and more recently an MFA in Sculpture from the Yale School of Art. She has exhibited works in many venues in the US, including The Andy Warhol Museum, The Invisible Dog, The Carnegie Museum of Art, Barnard College, and The Pittsburgh Center for the Arts. She currently lives and works in Brooklyn.
A PERFORMANCE BY SAM VERNON
CURATED BY ADRIANA PAULY
WITH SOUND BY LIZZY DE VITA
The Chimney NYC is pleased to present Sound Perception, a one-night performance by the artist Sam Vernon in collaboration with Lizzy DeVita.
The performance will run in coordination with DeVita’s exhibition as a reaction to the artist’s preformed concepts around home, identity and instability. Vernon will be guided by experimental sound, further exploring the sense of claustrophobia present in the exhibition and respond to the space itself.
Sam Vernon earned her MFA in Painting/Printmaking from Yale University in 2015 and her BFA from The Cooper Union for the Advancement of Science and Art in 2009. Her installations combine xeroxed drawings, photographs, paintings and sculptural components in an exploration of personal narrative and identity. She uses installation and performance to honor the past while revising historical memory. Vernon has most recently exhibited with the Seattle Art Museum, Ewing Gallery of Art & Architecture at the University of Tennessee, Knoxville, the Emery Community Arts Center at the University of Maine, Farmington, MoCADA, or the Museum of Contemporary African Diasporan Arts in Brooklyn