CURRENT EXHIBITION:

From Nothing Comes Flesh

Artist Talk:

Saturday, February 22, 2-3pm

409 Keap St, Brooklyn, NY, 11211

CURATORIAL STATEMENT:

“From flesh comes nothing, from nothing comes flesh”

Suffering, loss, and tragedy are inescapable threads woven into the fabric of the human experience. Yet, the burden of coping with trauma—its complexities and nuances—rests squarely on the shoulders of each individual; the journey through grief is an intensely isolating path. Grief manifests as a profound and all-encompassing ache, resonating through both the psyche and the body, yet it is seldom acknowledged or shared in open discourse. By sidestepping confrontation with this pain, it may fester and grow, leaving those impacted irrevocably altered.

Nick Zgraggan’s debut solo exhibition, “From Nothing Comes Flesh,” is a poignant exploration of grief in its many iterations. Zgraggan's artwork vividly encapsulates raw anguish, expressing the impact of psychological trauma on the body. He masterfully captures the elusive essence of mourning, translating the tumultuous emotions that churn beneath the surface into a physical body. Zgraggan has a remarkable ability to place the viewer in a disquieting balance between participant and observer. The visceral quality of his works elicits a spectrum of emotions that mirror the tumult of grief itself. These powerful embodiments of pain evoke empathy and provide a reflective space for viewers to contemplate their own experiences of sorrow. Simultaneously, the grotesque, uncanny, and somewhat surreal elements create a sense of uncertainty, reminding the viewer of their role as a voyeur. This intricate interplay encourages the audience to critically assess their compassion for the suffering of others while compelling them to confront their emotional wounds.

“From Nothing Comes Flesh” is a heartfelt tribute to the resilience of the human spirit, the depth of compassion, and the journey of transformation. This body of work poignantly reminds us that grief is a shared human experience and that tragedy unfolds in a broader context. Zgraggen’s collection invites an open dialogue between those grappling with loss and the wider community surrounding them, forging connections through the universal language of sorrow.

Curation by Calli Mirales

Sweet Like Me

Video Collaboration with Bridget Johnson

Sweet Like Me: Artist statement by Bridget Johnson

This collaborative piece mirrors the shared experience of the inner monologue that we hear after we are confronted with grief and loss. The content of the video is stitched from personal & family videos, found footage, and new footage of the artist Nick Zgraggen. Footage includes alternative visual styles of VHS and crackling Super 8 to camcorder to reflect the mental space of suffering associated with loss. For this video and audio accompaniment, it was imperative to create distance between the viewer and media. The sense of distance between subject and viewer reflects nostalgia, a distorted memory used to cope with pain. Its presentation insists on the viewer’s attention, as casual viewing in this context is discouraged.

In filming clips, I was immersed in the reality of personal grief. Borrowing clips from those I’ve loved, seeing the world that has impressed them and brought them moments of happiness. Slowing down and noticing the sky as much as we notice our heartbreak. Within my own artistic practice, it lives as homage to the people who taught me to constantly record the things that others may feel are meaningless. If it means something to me or the people I love, it’s worth remembering. In this case, scouring through footage challenges my recollection of the sound of my father’s voice. It shows me how much he cared about memory, reminding everyone he handed the camcorder to how to frame their subject and to find the right light. It’s a personal reminder that I never received from him in person.

I use photography as a way to create a tangible link between how a memory made me feel and reality. This is done with exaggerated portraits, impressing a feeling rather than being straightforward. I look to soothe and emphasize the importance of pain by keeping it in a similar visual world as joy. By creating an impressionist sense of memory, I assure the viewers that pain is as worthy of attention as our happiest memories.