ejecta projects


 

Long Lost
New Work by Anthony Cervino

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.
 

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. 
 

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.