Augusta Wood, THE SHAPE OF MY HEAD

OPENING RECEPTION: SATURDAY, APRIL 6, 2019, 6 - 8 PM

April 6 – May 18, 2019

Augusta Wood

Cereus, 2019

Chromogenic Print

15h x 15w in

3, 2 APs

AW030

Augusta Wood

Pink Succulent Ground, 2019

Chromogenic Print

18 3/4h x 15w in

3, 2 APs

AW031

Augusta Wood

Curtain Shadows, 2019

Chromogenic Print

15 3/4h x 18 3/4w in

3, 2 APs

AW032

Augusta Wood

Katya’s Apt, 2019

Chromogenic Print

15 3/4h x 23w in

3, 2 APs

AW033

Augusta Wood

Lamp Leaves Gerbers, 2019

Chromogenic Print

18 1/2h x 26 1/4w in

3, 2 APs

AW034

Augusta Wood

Jade Dusk, 2019

Chromogenic Print

19 1/2h x 26w in

3, 2 APs

AW035

Augusta Wood

Glass Houses, 2019

Chromogenic Print

23 3/4h x 23 3/4w in

3, 2 APs

AW037

Augusta Wood

Back Windows, 2019

Chromogenic Print

23 3/4h x 29 1/4w in

3, 2 APs

AW038

Augusta Wood

Squam Studio, 2019

Chromogenic Print

29 3/4h x 35 3/4w in

3, 2 APs

AW039

Augusta Wood

Monstera Silhouette, 2019

Chromogenic Print

28 3/4h x 47 3/4w in

3, 2 APs

AW040

Augusta Wood

Jeremy Sunset Window, 2019

Chromogenic Print

28 3/4h x 47 3/4w in

3, 2 APs

AW041

Augusta Wood

Snow Window Orange, 2019

Chromogenic Print

38h x 47 3/4w in

3, 2 APs

AW042

Augusta Wood

Flower In Hand, 2019

Chromogenic Print

10 3/4h x 14w in

3, 2 APs

AW029

Augusta Wood

Me Facing Robin, 2019

Chromogenic Print

23 3/4h x 23 3/4w in

3, 2 APs

AW036

Press Release

Los Angeles, CA - DENK gallery is pleased to present its second solo exhibition of new photographic works by Los Angeles-based artist Augusta Wood. In The Shape of My Head, Wood investigates the experience of personal time as an excursive set of fluid impressions and residual lingerings, each moment of the present informed by the spectral simultaneity of the past. This living overlap is the source of Wood's nuanced commix of images, where tenses are flexible, and the cumulative superimposition of imagery displaces the linear dictates of chronological time. 
 
Interested in the inherent elisions that emerge from within the photograph as an innately apparitional and mnemonic record, Wood explores its recomposition, engaging the subjective nature of time and memory, in all its latency and perceptual instability, as intimate extensions of the self and its way of seeing. In The Shape of My Head, Wood has traced the edges of her daily life in film, shooting photographs of its interiors, exteriors, vantage points, and objects at different times of day and year, accumulating partial, though intimate, views of its contours. Capturing the shifts in atmosphere and light that both animate these circadian textures and stir the indeterminacy of their shadows, Wood confronts the passing of time as a uniquely fractured and digressive experience rather than a reliably quantifiable one. 
 
Wood's process dramatizes this intuited and perceived dimension of time in its evocative conflation of past and present, projecting and superimposing photographs from multiple places and moments into a single compressed surface in real time. She uses slide projectors to cast a manifold of transparencies onto darkened studio walls, in what becomes a performative and transitory opening of multiple temporal windows in tandem, allowing the individual frames to interact dimensionally and produce unexpected aggregates. Often intervening in the image herself,  Wood uses her own body and hands to enter the collage, blocking out areas of light physically. She photographs this solitary theater of shadows, arresting its most evocative compositions as they unfurl in the overlap and restructuring of her film.
 
In her past work, Wood has excavated similar themes of overlap, exploring the imperfect and personal abstraction of memory when reconstituted. In I have only what I remember (2010), she projected haunting family photos onto the then-vacant spaces of her grandparents 1955 modernist home in upstate New York; the series was published as a book in 2014. Her last solo project, Parting and Returning, exhibited with DENK, explored the edges of her daily life in constant communion with the shadowy revenants of past tenses. 
 
Wood captures her impressions of time as a lived and embodied extension of the self in The Shape of My Head. Beyond language and the discursive coherence of chronology, its passing emerges as the artful and powerfully unreliable architect of experience. 
 
ABOUT AUGUSTA WOOD
Augusta Wood completed her MFA at California Institute of the Arts and her BFA at The Cooper Union for the Advancement of Science and Art, New York. She has had solo exhibitions in Los Angeles at DENK Gallery, Cherry and Martin, and Angles Gallery, and has been included in group exhibitions at The Los Angeles County Museum of Art (LACMA), The George Eastman Museum (Rochester, NY), The Torrance Art Museum (Torrance, CA), Zach Feuer Gallery (New York), and Anton Kern Gallery (New York), among others.  
 
Her work has been covered in publications including the Los Angeles Times, Modern Painters,  Artillery Magazine, Flaunt, and The Huffington Post. Her photographic project I have only what I remember was published as a hardcover book in 2014.  
 
Wood is included in the permanent collections of The Museum of Contemporary Art, Los Angeles (MOCA), and The Los Angeles County Museum of Art (LACMA), and The George Eastman Museum.