Call & Response
Call & Response | September 10–December 3, 2017
Pictured above: Still from Untitled History, 2017, digital animation, 3 min. Courtesy of the artist and Wave Hill.
This stop-motion animation investigates Wave Hill’s past by creating a narrative that focuses on the historic houses as private estates (from 1843 to 1960). Zamora’s process involves painting, photography and digital graphics. He started by researching archival images of Wave Hill House, Glyndor House and Nonesuch (the first house built on the site of the current Glyndor House). He then made paintings inspired by these pictures. Incorporating the archival photos with images of the paintings at various stages of completion, he digitally altered them to create the final animation using a stop-motion technique.
Sunroom Project Space | Sept. 19–November 1, 2009
Complex Directional, 2009, mixed media, dimensions variable. Courtesy of the artist.
Inspired by nature’s extraordinary perseverance under even the most onerous circumstances, Mauro Zamora has created Complex Directional, a mixed-media installation that mimics the look of an industrial construction site. Fourteen paintings on aluminum panels are mounted on signposts and stationed throughout the Sunroom; these are accompanied by a large, collaged wall drawing of a plywood fence adorned with “post no bills” citations. The paintings feature examples of nature thriving in the midst of dense urban development, such as weeds clawing through debris or the re-growth of vegetation where a construction project has been halted.
Influenced in part by the precipitate construction boom of recent years, Mauro Zamora seeks to address the transgressions of humanity against nature. He hones in on imagery that depicts this struggle, often casting nature in a triumphant light. By appropriating the look of billboards and road signs, both icons of urban development and suburban sprawl, Zamora underscores the dystopian overtones of his subject matter and advances his perspective on the impact that contemporary society has had upon the environment. Moreover, Zamora sees the work’s location in the Sunroom, surrounded by views of Wave Hill’s grounds, as an inversion of the dynamic of civilization’s constant encroachment upon nature. In its place, he has conceived of an installation that generates a narrative whereby nature surrounds the site and seemingly threatens to overtake it.
Complex Directional, 2009, mixed media, dimensions variable.
Courtesy of the artist.
Support for the Visual Arts Program is provided by Lily Auchincloss Foundation, Inc., Milton and Sally Avery Arts Foundation, the National Endowment for the Arts, New York Community Trust Edward and Sally Van Lier Fund, New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature, The Shelley & Donald Rubin Foundation, and by the Cathy and Stephen Weinroth Commissioning Fund for the Arts.