Artist statement & Biographies
Growing up is never easy, this is why they call it growing pains. You remember that feeling when your bones are expanding and your muscles are wrestling to follow? For any child, the most pivotal moment is that defining line of identity between Mother and offspring. The moment when I look in the mirror to realize: I am a being whole onto myself.
And yet, no matter how naked I am, nor how thrilling the uncertainty that lies ahead is, I cannot dismiss the heart wrenching growth that has come before me.
For us, the crisis of identity was highlighted and constructed under pressure. How can one contend with a bohemian Goddess that cut culture and the ties of her bourgeoise to live a life of trial and continual renovation, or an aristocratic Beckon that left a bed of roses to better the world with humanitarian activism and erected herself-hood while in prisoned? No room is left for innocent naivety, and every bubble must be willfully bursted. We are compelled to go beyond…
By the regards of these grand lights, we respectfully do not shy away, nor chose to hide in the shadows of limelight. We endeavor to take the great work further, and mature our own voice. Nurtured in a broad arena of cultures, we are fundamentally driven to reconcile intellectual theory with a sense of spirituality. At this juncture, just maybe, art can finally become the medicinal language that soothes the soul. Like our mothers always told us, our words and actions have power, there is the magic of that God we flippantly speak about; use them responsibly. Recognize the world is a choreography; strive to express your dance within it.
In their honor, we have created this poem, to all mothers, past and future, and within that endeavored to articulate those precarious moments we call birth and its coequal death. A journey is only a passage, the ups and downs of time are precious, like the beating of a heart, every tear and laughter becomes our delight, and the illumination of a path we are constantly searching to be part of. We claim to see the light at the end of the tunnel, but what are we really glimpsing? Perhaps, the beginning to another world, or is it the desire of our continual essence?
In humble vulnerability, we reveal our neurosis, expose our loves and traumas, and under the refuge of art attempt to face the fears and pain of death. A cathartic journey, though predestined to be personal, was designed with a therapeutic intent, to touch and stir everyone who has been born from a mother, for everyone who has stumble while growing up, in other words, for everyone who has ever lived.
With love and poetry,
Scarlett Rouge and Saulo Madrid
“Proper appreciation of the benefits of art must involve an awareness of when to put art aside. […] To pursue the true purpose of art, the reform of life, [..] because we have found much that is genuinely precious in art, and that we need to make it more real.” —- Alain de Bottom ‘Art as Therapy’
Scarlett Rouge Biography
Scarlett Rouge’s practice echoes her nomadic life – influenced by mythos, geographical settings, and navigations between cultures and disciplines. Rouge’s mediums include: painting, sculpture, performance, video and installation art. Currently based in Torino, Italy, Rouge has mostly splits her time between Los Angeles, and Paris, France.
Rouge’s performance work takes place in the L.A. art scene, where the culture of “do-it-yourself” art happenings, are an institution. A central thesis in Rouge’s work is the renegotiation of ancient myths, coupled with the contemporary gaze, towards depicting our current political and sociological systems within an eternal timeless context.
Scarlett Rouge’s performance career began at the precocious age of four, when she was a member of the pop-punk band ‘The Visiting Kids’ – conceptualized by performance artist Nancye Ferguson, and produced by Devo’s Mark Mothersbaugh. Between 1985-87, Rouge could be seen incarnating various characters in her father, Richard Newton’s, experimental theatre and film productions; namely, a controversial reinterpretation of Ibsen‘s ‘In a Doll’s House’ that later won Newton the International Ibsen Award in 2013. In 2011, eroding the divide between personal and public boundaries, Rouge participated in Newton’s ‘Have You Seen My Privacy?’ exhibition at 18th Street Art Center, where Rouge created the performance Sex, God and Webcams, interacting with a live online audience while being simultaneously video-cast to viewers within the gallery.
In Europe, Rouge’s mural work is inspired by religious art and the historical use of frescos to engage with the collective psyche. A student of ‘art as the new religious movement’ Rouge infuses a distinct playfulness across her artistic expressions. Utilizing symbolic language, she reconstructs archetypes to fit our present-day ethos, in effort to create a therapeutic framework, which strives to touch the secular inclinations of our modern souls.
Scarlett Rouge completed her BFA in 2002 at CalArts, CA. At first, majoring in photography, Rouge deemed it was too “sunless in the darkroom”, switched to painting and then completed her studio studies in installation art. Though raised with avant-gardism ideals, Rouge is somewhat of a traditionalist. After graduation, she completed a ‘life course’, working her way from busboy and go-go dancer to head chef at Les Deux Cafes, LA, the iconic restaurant established by her visionary mother, Michele Lamy. Family-ties are an important anchor in Rouge’s life. She continues to participate in the family business – from phenomenal events, to the opening of flagship stores, or the fabrication of contextual artworks and displays. Notable among these, A Matter of Life and Death, was a temporary performance installation Rouge created in collaboration with Anatol LaFayette, for Lamyland’s Bargenale during the Venice Biennale, 2015.
Recent group exhibitions include: Composition Poetique Quotidienne, at Youn Galerie, Montreal, Canada, and The Desert of Blythe, an installation created with Anatol LaFayette for Fresh Winds Biennale, Gardur, Iceland, 2016. Recits des Trois Perverses Femme Seulement, at Jancar Gallery, and Art Jungle in the Giardini della Reggia di Venaria Reale, Torino, Italy, 2012. Solo exhibitions include: Blithe Spirit, 2013, a painting exhibit, at Ghost Space, Torino, Italy. Origine Oscura in the Asylum of Infinite Becoming, a multi-media installation presented at Paratissima 8, Torino, Italy, 2012, and In the Womb, 2010, at Antebellum Gallery, Hollywood, California. Scarlett Rouge’s work has been written about in The Wall Street Journal, Huffington Post, Lei, StylelikeU, What’s Contemporary, and Dossier Journal.
Saulo Madrid Biography
Through storytelling, curation, and philosophy, Saulo Madrid’s practice blurs the boundaries of the art world’s normative labels. Driven by an insatiable passion for revealing what makes us human, Madrid is perpetually using one hand for the ‘archeologist spade’ to dig into the past, while the other is continuously experimenting into the future with new technology. Above all, Madrid endeavors to discover, and simultaneously create, across the multiplicity of ways we choose to articulate ourselves through culture.
Madrid specializes in the creation and mediation of content across multi-platform echo-systems that include print, video, film, architectural, and responsive and augmented installations. Beyond his personal research, Madrid’s practice keenly integrates collaborations with an international scope of artists, architects, programmers, designers, galleries and museums.
From 2007-2009 Saulo Madrid served as Assistant to the Director of Communications and Artistic Director for the Canadian Center for Architecture (CCA), producing award-winning projects such as the Post-Vernissage events as well as a Podcast lecture series featuring architectural luminaries such as Lars Müller, Greg Lynn, Yung Ho Chang.
In 2010, Saulo moved to the Topological Media Lab as Artistic and Communications Director, focusing on areas of movement and augmented architecture. A studio-laboratory for the study of gesture and materiality from computational and phenomenological perspectives, during his time at TML, Madrid curated an installation at Alex Wang’s flagship store (NYC) during Fashion’s Night Out , 2011.
As a contributor to print and digital publications, Madrid curated the gallery exhibit, A Phemenological Exhibition, Milk Gallery, NYC, 2012, for The Ground Magazine (NYC), where the publication was remediated as an installation across digital platforms. In 2013 Madrid wrote for and curated the print exhibition, Globalized, developing a conceptual framework from which to navigate the personal experience of ‘living in the cloud’ – without defined roots or time-zones.
In 2014, Madrid curated EXHIBITION Magazine’s first somatic gallery presence, Weightless (Galerie Eva Hober, Paris), an exploration of the relationship between the reader, the visitor and the modalities of the printed object.
Curatorial collaborations include the recent, Carambolage, 2016, at the Grand Palais, Galeries Nationales, Paris, under mentor Jean-Hubert Martin, Conservateur Général du Patrimoine de France. The exhibition design renegotiates our traditional approach to art history.
Other curatorial projects included: Rio Brésil, FB Gallery, NYC, 2012; Ran Ortner, The Ocean Within, Art Basel, Miami 2013; The Black Soft, Below 14th St, Highline Gallery, NYC, 2013; and Rad Hourani, début, Unisex Haute Couture, Paris, 2013.
Upcoming projects include: the world premiers of Misfortunes of Francois Jane, a feature film Madrid art directed, Palais de Tokyo, Paris, and Guggenheim Museum, NYC, September 2016. 2017 will see the curation and opening of artist Stephan Breuer’s Ultra Light, a responsive land art installation at the Palais Royal garden, Paris, France in collaboration with the Centre des Monuments Nationaux, and the Ministère de la Culture, France.
Madrid holds a BA in Architecture History from Harvard University, 2004, and Graduate Diploma in Communication Studies from Concordia University, 2009. He holds a Master’s in Philosophy of Aesthetics and Phenomenology from La Sorbonne, Paris IV, 2010.