Ejecta Projects is proud to present Unsolicited Submissions, an exhibition featuring nineteen artists who work in a variety of media, including painting, sculpture, alternative photographic processes, collage, video, and sound art.

Exhibiting artists include David Aipperspach, Kate Casanova, Emily Cucalon, Mary Olin Geiger, Karen Anne Isaksen Glick, Craig Hill, Michael Dax Iacovone, Ronald Lambert, Cindy Lesperance, Chelsey Luster, ChaeWon Moon, Sarah Nance, Jen Noone, Maureen O’Leary, Ryan Parker, James Reeder, Caroline Elizabeth Savage, Chad Whitaker, and Robert Zurer.

The title of the exhibition acknowledges many galleries’ policy to not accept “unsolicited submissions.” In Ejecta Projects’ first call for entries, the curators sought artists who may be deterred by this exclusivity. While many artists’ submissions to galleries and exhibitions, when rejected, are simply discarded, all artists’ proposals for Unsolicited Submissions have been color printed, folder bound, and are prominently displayed in the exhibition as a library of artwork. All visitors are encouraged to peruse this library during our normal operating hours.

Taken together, the artists’ works on display in Unsolicited Submissions investigate ideas of displacement, isolation, and fragmentation both in relation to abstracted bodies and unusual landscapes. For instance, Sarah Nance’s haunting vocal composition Marseille tidal gauge aria, is performed in an operatic style and refers to rising sea levels and geologic time. Similar concerns about changing landscapes emerge in Ryan Parker’s strangely lunar photograph of storage containers near warehouse distribution centers. James Reeder’s process of making photographs is quite different, but the resulting composition of disorienting planes also can be characterized as at once scientific and surreal. Peculiar subjects and spaces appear in other artists’ works. For instance, only parts of bodies appear in Chelsey Luster’s and ChaeWon Moon’s compositions, as a figure with sharply painted nails grips the side of a tub in a room compressed and flattened by the almost menacing grids of wallpaper, shutters, and titled floor
in Luster’s painting Invasion. Moon’s mixed media work Untitled (How to Escape) echoes the imagined threats of Luster’s painting. With a truncated body exiting through a small window, her composition reads at once as instruction manual and dramatic narrative. While the artists in the exhibition maintain ambitious and diverse studio practices and are informed by their own histories and identities, Unsolicited Submissions brings these works together to introduce new ways of thinking about estrangement and communion in the twenty-first century.

Ejecta Projects is proud to present Theta Resonance, an exhibition of recent abstract paintings and collages by Kate Stewart on view May 17 through June 8, 2019. Please join us for an opening reception on May 17, 5-7 pm.   We'll also be hosting a reception on First Friday, June 7, 5-8 pm with light refreshments.

Kate Stewart's works reflect the artist’s interest in meditation and diverse art practices, artists and materials. The title Theta Resonance refers to the theta state of the brain during meditation, REM sleep and hypnosis. Stewart draws parallels between her studio work and her meditation practice by describing synesthetic responses to thoughts and sounds through color, light, and space.

Kate Stewart has been a Professor of Art in the Department of Art + Design at West Chester University since 2006. She received an MFA from The University of Pennsylvania in 2003 and a BA from Dickinson College in 1998. She has had solo exhibitions at Vox Populi Gallery, Seraphin Gallery, Moore College of Art, P.S. 122 (NY), Drexel University, Gettysburg College, and The Art Institute of Philadelphia. She was a 2005 Fleisher Challenge Artist in Philadelphia and a finalist for the PEW grant for artists in 2008.  Stewart has been an artist in residence at Vermont Studio Center, 40th Street A.I.R. in Philadelphia and at the Sam and Adele Golden Foundation (forthcoming).

image: Mala Milagra, 2018, 40” x 30” (acrylic, ink, tempera, spray paint on panel)
 

Amy June Bates: Checking Out
March 22 - May 4, 2019

Amy June Bates is interested in stories. Her themes are influenced by her roles as a woman, wife, mother, and professional illustrator. In her exhibition titled Checking Out at Ejecta Projects, Bates considers issues of domesticity, child rearing, and particularly the mundane tasks of grocery shopping, dish washing and laundry.  Despite the seeming banality of her subjects, in some of the paintings, wolves mysteriously haunt the edges of imagined Carlisle landscapes. In others, primal desires, parental fears, and the intensity of children’s own emotions appear in the red eyes of Bates’s wolves. In her series titled Chores, shadows cling, like a melancholy fog, to the shoulders of the women absorbed in ceaseless domestic tasks. Despite gloomy gray skies, discarded carts, or piles of dishes, Bates’s works convey a dark humor and a loving embrace of bristling emotions amid difficult surroundings.

Amy June Bates is an award-winning, nationally acclaimed illustrator and has published over 50 books, including Gittel’s Journey: An Ellis Island Story, Ketzel, the Cat Who Composed, The Dog Who Belonged to No One, Sweet Dreams and That’s What I’d Do (both by singer-songwriter Jewel) and is the author and illustrator of The Big Umbrella (Simon and Schuster, 2018).

ART – N – STUFF:
Personal Longings and Peculiar Pairings
November 24, 2018 - February 16, 2019

A diverse exhibition of affordable works of art and objects for sale. Carefully curated tools, games, books, and domestic miscellany are things we at Ejects Projects use and find useful, or are simply beautiful. These curated retail items, in various ways, echo the theme, form, and narrative of the artworks. Visitors are invited to consider design, creativity, and pleasure in all things. Exhibiting artists include Stefan Poag, Simone Hooymans, Kyle Bauer, Jackie Milad, Anthony Cervino, Seth Goodman, Mitch Shiles, Judith de Haan, and Joy Drury Cox.

Joy Drury Cox & Ben Alper: Hard Places
October 5 - November 10, 2018

The title of this exhibition, Hard Places, is at once a slightly tongue-in-cheek nod to the expression "between a rock and a hard place," but also a more literal affirmation of the solidity of the surfaces photographed during travels to the Pacific Northwest. The husband-and-wife artists, Joy Drury Cox and Ben Alper, acknowledge that in a very overt way, the title describes the challenges of photographing landscapes of great beauty and grandeur within the limitations of a camera’s singular lens.  With a long history of majestic landscape paintings and photographs in mind, the artists also suggest that shifting perspectives and present-day concerns about environmental changes are needed to reframe seemingly sublime wildernesses. The photographs on display in Ejecta Projects simultaneously resist and respond to these pictorial precedents.  While some photographs offer glimpses onto expansive vistas of woods, wildflowers, and the sea, other spaces, such as densely woven tree roots, rough rock faces, and dizzying plains of gravel, appear flattened, constrained, and abstracted.
 
The couple traveled together, but took photographs independently.  Although Alper and Cox retain his/her individual aesthetic, they nonetheless share an overlapping and compatible vision.  Each artist is attentive to both surface details and larger topographies; the sharp focus in almost all of the photographs in this exhibition reveals a similar fascination with the crisp light and atmosphere of the Pacific Northwest, perhaps in contrast to the humid haze often hanging over their hometowns on the East Coast.  And, when Alper and Cox include figures in their compositions, both artists address the longer history of landscapes in art as well as present-day concerns about the impact of tourism and land use. For instance, Alper’s Silhouette, Bandon, Oregon alludes to early nineteenth-century German Romantic painter Caspar David Friedrich’s inclusion of small figures to convey the sublimity of a landscape. In both Alper’s photograph as well as in Cox’s Wanderers near the Falls, Hoh Rain Forest, WA, the artist does not picture what the figure sees.  The figures are not stand-ins for viewer’s own place within the landscape, and they also don’t simply establish a sense of scale.  Instead, Cox and Alper thematize a thwarted desire to capture the embodied entirety of a sublime landscape.
 
S.E.
 
Ben Alper earned a BFA in Photography in 2009 from the Massachusetts College of Art & Design and an MFA in Studio Art in 2014 from the University of North Carolina at Chapel Hill. His work has been exhibited and published throughout the United States and internationally. Since 2015, he has published 5 artist books, the latest a collaborative project co-authored with his partner Joy Drury Cox. Additionally, Ben is the co-founder and co-facilitator of A New Nothing, an online project space dedicated to hosting visual conversations between artists.  In the almost four years of its existence, the site has aggregated more than 100 discrete exchanges between artists from around the world. He currently lives and works in Durham, NC, where he divides his time between running a digital printing business, generating new work, making collaborative music playlists with friends, buying too many books and spending as much time as possible with his partner Joy and his dog Sophie.
 
Joy Drury Cox is an artist and educator living in Durham, NC. She was born and raised in Atlanta, GA and graduated with a B.A. in English from Emory University. Halfway through college, she discovered a love for photography that ultimately shifted the course of her life. She went on to earn an M.F.A. from the School of Art and Art History at the University of Florida. She has exhibited nationally and internationally since 2003. She is the author of three artist books, and has most recently co-authored a photography book with her partner, Ben Alper. Today she works in a variety of media including drawing, collage, textiles and photography. Joy is currently a Teaching Assistant Professor in the Art Department at UNC Chapel Hill.
 

Anthony Cervino: Long Lost
August 18 - September 22, 2018

Long Lost, the title of this exhibition of sculptures by Anthony Cervino, usually describes a person or thing of value recently found, i.e. a long lost cousin or a long lost masterpiece. The works of art shown in Ejecta Projects similarly suggests memory and rediscovery. Viewers will see Cervino’s carefully placed sculptures in beautifully crafted, glass-fronted, brightly colored wooden boxes. Found and sculpted objects in each case evoke notions and narratives of childhood – adventurous play, maternal comforts, imagined heroism, and prayerful longings.  Although the exhibition might at first seem to imitate the display of artifacts found in linen-lined museum cases, Cervino invites less serious, more personal associations.  The artist offers a wistful celebration of everyday possessions and poetic musings on an enigmatic past.
 

Carley Zarzeka: What I Already Know
May 19 - June 15, 2018

Carley Zarzeka, an alumna of Dickinson College (2015), recently received her MFA from the University of North Carolina at Chapel Hill.  She returns to Carlisle, Pennsylvania to share What I Already Know.  The title of her solo exhibition at Ejecta Projects playfully responds to her academic accomplishments, the completion of her formal education, but it also suggests an innovative understanding of mass-produced, household objects. Zarzeka takes domestic and familiar objects – a suet feeder, potato masher, an oven rack, egg slicer, for example – and creates funny, strange, and even somewhat figurative sculptures that transcend their initial quotidian materiality.  In the vein of artists Robert Gober (American, b. 1954) and Louise Bourgeois (French-American, 1911-2010), the works subtly evoke themes of sexuality; the hints of biological form and a sense that these seemingly neutered objects have a gendered identity.  But, with other contemporary sculptors in mind – Jessica Stockholder (American, b. 1959), for example – Zarzeka’s juxtapositions of forms evoke strange narratives about home, labor, consumerism, and comfort. 
 

VALEDICTION
March 24 - May 4, 2018 

Say Hello, Wave Goodbye.....

The fear of starting something new – especially when entrenched in a routine that conforms to institutional norms and knowns – is a terrifying prospect.  The biggest concern is not one of failure (which should be understood as subjective and perhaps inevitable), but of ending (which has a more funereal cast).  Saying goodbye is very different than defeat, although they are not mutually exclusive.  Given the general failure rate of small galleries, "waving goodbye" seems like a much less pretentious and a more portentous way to kick off Ejecta Projects’ first season of exhibitions. Anticipating the gallery’s fate, this exhibition might be seen as an apotropaic event, a means to acknowledge possible futility and to ward off eventual finality.
 
The works in Valediction are diverse in their media – painting, sculpture, collages, and digital prints – but share a sense of concerted loss, fragmentation, and displacement.  These fraught feelings were at the center of Ejecta, our exhibition and book of 2015 and the notional progenitor of this gallery. The engaged sincerity, wit, and profound art-historical awareness of each of the artists shown here – Lisa Blas, Nora Sturges, Joe Meiser, and elin o’Hara slavick – resonates with the considerations of mortality, morality, and artistic lineages in this earlier exhibition.  The inclusion of Anthony Cervino’s single sculpture Archimorph (Duplex), is intended to serve as a trace of Ejecta.  Although we bid it farewell in 2015, its return now signals the hellos and goodbyes of the artists and objects in Valediction.  Some of the works in this exhibition are newly made, but the artists are not new to us.  As we greet and part with friends and strangers, the art is made, displayed, and packed away, with hopes of being seen again.  Taken as an integrated installation, Valediction is not to be understood simply as a scion of Ejecta, but as its own salutatory and valedictory gesture.