Opening Friday October 4th 5-9pm

Continuing Saturday Oct 5th, Thursday Oct 10th- Saturday Oct 12th 3-7pm

'In a hybrid digital-physical showcase of her multimedia practice, Carla Gannis’ works in Reality Bites span a tantalizingly wide range of approaches, from feminist interrogations of selfhood in the age of algorithm to iterative materialities in the tradition of Jasper Johns. In the UFO (“Unidentified Female Objects”) portion of the show, Gannis leans into the subjectivity of post-photographic media, using her own body as model for generative and hybrid sculptural portraiture. These new works unfurl an uncanny combination of both the shockingly disgusting and quotidian expected forms of feminine beauty in what the artist herself calls a jolie laide style, piercing the veil of distance and immateriality we often expect from digital works. For Gannis, across the works of Reality Bites, the punctum of the corporal detail of an eye, teeth, or a too-many-fingered hand, pierces the studium of what we have come to expect from AI and other generative visual culture.

Similarly, the portion of the show entitled “Yonder” uses 3D LIDAR scans done on an iPhone to interrogate the specificity of place in a continuously global and online world. What is mise en scene? What is “real”?  When do the two begin to bleed together in our consciousness so as to become permanently entangled, our devices always tethered to our hands. For Gannis, ontological inquiry into human selfhood is fragmentary in a world where the reality of the image is always conditional, infinitely reproductive, corruptible, and corrupting. 3D printed and hand-crafted sculptural works that in turn engage with AR and volumetric scan bring this shifting punctum of objecthood to the gallery’s physical space, allowing viewers to imagine themselves extra-sighted, limbed, and even appendaged with an additional finger, a common artifact of CLIP diffusion images made by AI. In the works of Reality Bites, Carla Gannis asks not only what constitutes her own self, but also all of ours; our tenuous bodies situated in a networked world of hyper-artificed visuality on the brink.'