The First Story - MARINARO

JAG projects presents: The First Story: A Show About Twinning, and tangential themes.

-Luke Barber-Smiths captures identical buildings, portrayed through photography, a medium inherently connected to multiplicity. The captured images are printed in different sizes and chromatic filters. Seeking individuality in a cookie-cuter industry of multiplied blueprints.

-Max Bushman’s, character paintings appear as a hybrid between video game avatars, and fashion layouts. An industry highly set on mass production while finding an individual voice within ubiquitous styles. The figures are highly stylized and broken down appearing as dancing chromosomes in a micro/macro environment.

-Drew Gillespie's video narrative sculpture tells the story of an evil twin which pushed him down a well. Using a complex matrix of software and facial mapping a vast web constructs and unfolds a wide and wild story with accompanying wishing well fountain and storyboard print-outs.

-Laura Hunt presents two paintings one; a sea of the letter X, while the other a field of E. Appearing like a magnified petri-dish of chromosomes these works are undeniably informed from Hunt’s experience as growing up as a twin.

-Sophie Parker works with plants and genetic regrowth, cutting and painting the leaves. A story of repeated instruction growth, up against individualism, wanting to outshine other flowers from the same branch.

-Lizzie Wright’s wall sconce ceramics molded from turtle shells and horseshoe crabs, deals with nature's genetic design and micro variations that lend to subtle differences between the same shell. While working in a medium that actually uses mold and shell casings. The works are harnessed with wall light fixtures harking to a world of interior design and mass produced objects.

-Jamian Juliano-Villani’s sculptural piece is composed of mirrors, nut-cracker figurines and walnuts. Besides being informed by the non-direct peripheral confrontation of growing up as a twin. This work harks Juliano-Villani’s classic style of taking before making. While also taking a stab at masculine art historical heavy-hitters like Robert Smithson, and still giving praise with a comedic nod.

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