Utilizing Jeffrey Stark’s store-front architecture and 24-hour surveillance camera, emerging artists and first-time collaborators Cudelice Brazelton and Jacob Mason-Macklin explore intersections of display and visibility through a transformation of this diminutive gallery. In a site-specific, collagist installation consisting of found and original photographs and other printed matter, Bounty shifts Jeffrey Stark into a space that functions as a hideaway or sanctuary meant to house subverted depictions of anonymous black bodies. Symbols which reference the overarching narrative of the show are cut, scorched, applied and displaced from their original surfaces as clues throughout the immersive visual landscape.
Bounty is a view into a kind of subjectivity—it combines flier and barbershop culture taken directly from their Ohioan context, black malehood, and a pervasive sense of tenderness. Where Brazelton deftly burns and singes onto the walls or the figure, paralleling flesh for flesh, Mason-Macklin accumulates, building surface and meaning. Brazelton's marks collapse the body and commercial space into decorative zones of display; Mason-Macklin's reworked posters balance visibility and obscurity, weaving images of lost dogs and family photos to create what he terms "visual journals," both real and imagined. Paired together for the first time, these two artists have brought an undeniable urgency to a representative body.