A blue wall with several objects including a wooden bench, silver milagros, a cassette player, paintings of candles, an aloe plant, tools, and more.
Jodie Cavalier, to dream [in spanish]. On view October 22–November 19. Photo by Perry Doane.

Season One (2022)
    a word, an act, a seed
 

Fall: Jodie Cavalier, to dream [in spanish]
opening reception October 22 1–4pm
Open to all. Pizza for free. Masks required.

on view October 22–November 19
open most Saturdays 10–2 or by appointment
1183 DeMeo St, Santa Rosa, CA

In to dream [in spanish] Jodie Cavalier takes visual cues from Mexican street vendors, farm laborers, taco trucks, and construction lunch break sites to present a collection of handmade and altered objects. Tools made from ceramics, brooms, pamphlets, found objects, toys, and food combine to create a moving sculpture that layers work, home, commerce, migration, and play into the same space; a space that might make sense as something like a dream in another language, her ancestors' tongue.

Jodie Cavalier is an artist living in Portland, Oregon. She earned a BA from the University of California, Berkeley and an MFA from Pacific Northwest College of Art in Portland, Oregon. Her work has been exhibited with Converge 45's Portland's Monuments & Memorials Project in Portland, OR; the Schneider Museum in Ashland, OR; the deYoung Museum in San Francisco, CA; the Pacific Film Archive in Berkeley, CA; CoCA in Seattle, WA; Practice in New York, NY; and Städelschule in Frankfurt, Germany; among others. She has participated in residencies at ONCA in Brighton, England; the Center for Land Use Interpretation in Wendover, UT; Wassaic Project in Wassaic, NY; and AZ West in Joshua Tree, CA.

Upcoming:
TBA

Past:
Summer 2022: Connie Zheng, Terrine
Spring 2022: Breanne Trammell, Spacing Out

About Labor is a Medium

This is something I've thought about doing, in various forms, for a while now. In many ways, it's something that I have been doing in various forms—exhibitions, publications, pizza parties—for a while now, often with collaborators, and often with my wife, Emily. As Labor is a Medium (LiaM) has taken shape, mostly in my mind, over the past year or so, it too has gone through a number of iterations in form, frequency, and content. But what has remained consistent is a desire to create a space to connect in community: a place for us—Emily and I—to connect to and build community here in Santa Rosa, a city we left for a decade and returned to in 2019. To do that, we offer up what we have: a little bit of space, a little bit of time, and food. The pizza is always free.

This first season of LiaM, launching in 2022, features Breanne Trammell, Connie Zheng, and Jodie Cavalier. I invited each to exhibit a work on a free-standing wall in my garage. I tried to make clear the limits and possibilities of this experiment, and I articulated that the definition of "a work" is, well, undefined—it might be in progress; plans and ideas; instructions; an empty space; a string tied to a katydid; something half-finished and abandoned. I circled around some of the ideas I'm hoping to dig into through this project: work that in some way demonstrates the process of its making; work that is concerned with the political through oblique pathways, through poetics, through speculation and association; and work that challenges capital in some way. Labor, itself, is a medium.

This group of artists is, considering my own impetus in launching this project, fitting: they all, in various ways large and small, work with ideas of building-in-community, of food and nourishment, and of potentiality—the potential of a word, an act, a seed to change a life, or change a world. This alignment was, I'll admit, unintentional, or at least unconscious; I invited artists whose work I like and who I like as people, and who I thought might, with luck, go along with this thing I'm trying to do, even if it is ill-defined—friends, in short. In any case, space, time, and food with friends seems like a good place to start.