Homemade

He has, most recently, united plane blankets—which he manipulates into forms of human figures—in various combinations to create textile works that capture ambiguously motivated and fleeting moments of contact and touch.

In this time of global pandemic—during which our ways of connecting with one another have been forced to adapt and transform—Teoldi’s choice in material, which recalls the journeys we take and the distances we are willing to travel to be with loved ones, takes on entirely new significance.

For Homemade, Teoldi returned to these familiar subjects in a very different way. Using a variety of paper types—from old photograph paper to the encasings of “fette biscottate” (traditional Italian breakfast biscuits)—he created a series of collages depicting figures in a state of embrace or longing.

Once completed, he covered them with fresh, homemade concrete—one of the most foundational materials for home construction. Its heavy weight and liquid consistency destroyed the paper constructions while simultaneously assuming their unique imprint.

Teoldi’s final four bas-reliefs memorialize instances of human contact, which have become increasingly foreign during the quarantine, and serve as poetic meditations on what builds connection, comfort, and home.

At the beginning of the project, she focused on life outside of her apartment by taking photographs of the unusual compositions she came across in her neighborhood. Most notable was the immense pile of glass shards she encountered outside of a broken storefront window.

Over time, she began taking photos inside of her apartment, turning her camera lens to the remnants of all the wine glasses she broke in quarantine along with the sunbeams that entered her bedroom every afternoon. In an effort to understand new rhythms of time, she divided her reflections into chapters.

After what was meant to be a weekend-long respite on an island in Massachusetts turned into several months of isolation in the company of a small group of artists due to the announcement of the U.S. lockdown, Danilo Correale found himself far from his New York home and studio.

He began Homemade under these circumstances, having only the minimal possessions he packed with him— pens, printer paper, and his laptop—as his artistic materials. Out of his comfort zone, Correale turned inward, choosing to examine themes that are familiar to his practice from a more personal and vulnerable perspective.

Throughout the project’s duration, Correale created an ongoing and extensive list of his artistic projects and endeavors—realized, unrealized, yet to be conceptualized, or still in progress—at first through digital renderings of this data and later by incorporating his own hand into the work.

His shift towards manual labor allowed him to meditate deeply on the notion of time, especially as it relates to completing an artwork in this unprecedented moment. Through a time- and labor-intensive process involving rigorous and patient transcription of the typographic characters comprising his lengthy inventory, Correale charted and reflected upon his past, present, and future. His body informs the scale of the final work, in acknowledgement of its deeply personal nature.

Since she first started studying art history, she has been captivated by hairstyles and their symbolic meaning—embodying various dualities, including power and its limits, as well as expression and suppression.

Her infatuation led her to accumulate large amounts of doll hair for use in future artistic projects. Interested in exploring the hoarding phenomenon that developed at the start of the pandemic, Scaccia turned to her own collecting habits. This painting initiated an inquiry that would continue throughout the duration of Homemade and lead her to venture into an entirely new medium.