Chasms depicts atmospheres that exist in a limbo between meaning and non-meaning, in the void between mythology and “reality”. In these atmospheres are half-developed structures meant to invite a viewer’s personal mythology. Within these structures are harshly collaged elements that serve to crack the integrity of the painted scenes.
These rifts planted in various areas on the canvas can be understood as signifiers of everyday, mundane possessions; possessions brought together by a combination of chance, necessity, desire and fate that over time become permanently situated in one’s life and that take on relic-like power. Sequoia is questioning her habits of conspiracizing with symbols; her ability to make sense of the overabundance of information in the world; her longing for purpose.
To open up a few more avenues of thought in the paintings: orange wrappers, used lottery tickets, and other discards that clash aesthetically with the painting represent all the objects in her life she applies ideologies to: everything and anything. They become holders of destiny and suggest the vast unknown. The clashing is a representation of what she feels is a lack of ability to attribute meaning to the world in our society at large. In other words, the discomfort in the series is haunted with the possibility of nothingness, or the lack of meaning. «
The paintings also mark the transitional periods of the day: at dusk, during the dusty tension between heat and cool light, and during midnight, when everything is both dark and discreetly illuminated by the moon. These transitional times of push and pull allow for a tingling stillness that can trigger a ripple of similar emotionally and spiritually transitory states.
BIO / PRACTICE
Sequoia Scavullo was born, lives and works in Baltimore, where she attended the Waldorf School, which allowed her to pursue the arts at an early age. She studied in Boston in a dual degree program with Tufts and The School of the Museum of Fine Arts, and later studied at the École Nationale Supérieure des Beaux-Arts in Paris. There she was apprenticed by the painter Jean Michel Alberola.
Sequoia uses painting and 16mm film as her current mediums. Her artistic approach is quite simple, each project stems from a place of confusion, delight, stupidity, and passion. Following a veiled itch to communicate what she can not fathom in words and what is most urgent to be in dialogue with her surroundings. Her method is to walk a fine line of intention whilst being open to interruption in an attempt to uncover the criteria each artwork asks of itself.