'SAGA' brings together a selection of recent works by Ęarth Ængęł. The exhibition invites the viewer to step into a parallel multiverse, which utilizes myth-making and storytelling to explore both the refusal and integration of dystopian anthropogenic destruction. A story with many protagonists, 'SAGA' takes place in the past, the present, and the future. Wax figured melting Tchotchkes- relics from another time, a totem to the power of small souvenirs, marking our collective existence. Glass blown dolphins rise up from the concrete floors, frailty and strength intertwined, chained to organ pipes, eerily quiet and static. These sea creatures dance, evolve, dissolve, re-emerge, telling tales of their resistance. Shrines on the wall, fragile and beautiful stained Glass meet with strong Pewter, spirit house shrines to something that has been left behind but will always survive. The materials used in these works mirror their story- the fragile beauty of stained Glass meets the hard edges of Pewter, shrines to the past and the future.
The story of the Dolphin Gurl, as told by Ęarth Ængęł:
The Dolphin Gurl 4 Ever started as a hollow body moving fast through a series of deliberate choices like performing tricks at a theme park. Jailed by the overage of stimulation, Dolphin Gurlz breaks free from the aquarium and begins to collect its remnants in the tide of the ring master's excrement. Dolphin Gurlz begins to re-assemble themselves within the fragments of their own abandon and what the collective consumes. Turning away and tumbling through the deep ocean into the current, the Dolphin Gurl finds themselves in unknown current lit by phosphorescence- a pod in this abyss. The light flickers, pulsates, is led astray, and then forms a line over and over again 4 all eternity. This current is the source. It becomes this eternity, and it enters all of the bodies of the Dolphin Gurl. This electric glow forms the sight, and they re-emerge in the deepest cave in the world to continue the assemblage of their own horizon.
Deeper and deeper, the choices have gone into the darkest part of this ocean, taking the Dolphin Gurlz with them. They begin to dissolve, disappear, and reappear. The Dolphin Gurl is in and out of their own existence, in a blackout, and hitting rock bottom. Then entering the body again and standing outside of it looking in. Like a dream of still sleeping, the Dolphin Gurl is eternally waking up to themselves, forming a new kind of faith outside of each moment. The essence of batting one's eyelashes -flirting with their own existence. Coy only for one's own body and mind spraying the perfume of self-love unified. Its gender is constantly dissolving into the collective. Post gender. The Dolphin Gurls finally become one.
Ęarth Ængęł is a non-binary post-identity construct. They aim to have a social practice formed by rejecting the 21st-century compulsion towards sorting out individual value. As humans move towards extinction, Ęarth Ængęł hopes to create work that is a final homage of salvation, abandoning ideologies of hyper marketization and institutional labor. Ęarth Ængęł does not attempt to rise above marketization or these values but ingests it, lays by its deathbed, consoling the inevitable outcome, and resurrects it into the archive of predetermined aesthetics. Creating art from a present-day collective conscious, Ęarth Ængęł strives to move beyond the individualist shell, focusing their practice on creating work that explores issues around gender constructs, ecology, and dystopian anthropogenic destruction. In doing this, their work is both a refusal and an integration of dystopian abandon or a dystopic ecological winged mirage of the Earth.