14-25 May 2016
Opening Reception on Saturday, May 14th // 6-10PM
Closing Reception on Tuesday, May 24th // 6-8PM (date correction)

It is up and down the alleys that exterior entrances and exits are made. At the end of the opening commentary, the dark tenement wall slowly reveals (by means of a transparency) the interior of the ground floor.

Downstage is the living-room, which also serves as a sleeping-room, the sofa is unfolding to make a bed. Upstage, centre, and divided by a wide arch or second pro-scenium with transparent faded portières (or second curtain), is another room. In it they are gallantly smiling, ineluctably smiling, as if to say 'I will be smiling forever.' But smiles…

Theirs is a language of lament, not unlike listening to an X-Ray. Their cries are just bones of sound. They’re itemized as follows:

1. O
2. IO
3. PHEU
4. AIAI
5. TALAINA
6. OIMOI MOI
7. IO MOI MOI
8. EE IO
9. EE AIAI
10. IO GONAI
11. OIMOI TALAINA
12. OI ’GO TALAINA
13. OTOTOTOTOI TO TOI
14. IO MOI MOI DYSTENOS

The audience hears and sees the opening scene through both the transparent fourth wall of the building and the transparent gauze portières of the arch. It is during this revealing scene that the fourth wall slowly ascends out of sight. This transparent exterior wall is not brought down again until the very end, during the final speech.

The narrator is an undisguised convention of the play, taking whatever license with dramatic convention is convenient to their purpose.

Text drawn from: The Glass Menagerie by Tennessee Williams & Anne Carson's translator’s notes for Sophocles' Electra


Audrey Hope is a second year MFA student at the University of California, San Diego. She received her BFA in 2008 from the School of the Museum of Fine Arts, Boston in association with Tufts University, and was awarded a 2014 Traveling Fellowship by the School. She attended the Skowhegan School of Painting and Sculpture in 2014. Other residencies include the Hambidge Center for Creative Arts and Sciences in Rabun Gap, Georgia, SOMA Summer in Mexico City, and the New York Studio Program. Her large scale projects are permanently installed in homes in Cambridge, MA, Allston, MA, Hamburg, Germany, and Brooklyn, NY. Her work has been exhibited at the Manhattan Beach Art Center, New Wight Gallery at UCLA, Projekt722 and Harbor Gallery in Brooklyn, Goodnight Projects in San Francisco, x-pon art in Hamburg, Germany, and with SPF15 in San Diego. As an educator she has held positions at the New Museum, New York, Art School at the Educational Alliance, New York, and The Oxbow School in Napa, CA, and has given artist talks at Pace University, New York, and The City College of New York.

Morgan Mandalay is currently an MFA- Visual Art candidate at the University of California- San Diego. He received his Bachelor of Fine Arts from the School of the Art Institute of Chicago where he was the recipient of the Edward L. Ryerson Fellowship. He studied photography and new genres at the San Francisco Art Institute. He has exhibited both nationally and internationally at such venues as LVL3 (Chicago, IL), Yautepec (Mexico City, MX), New Capital (Chicago, IL), Seed Space (Nashville, TN), Galerie Tatjana Pieters (Ghent, BEL.), Green Point Terminal Gallery (Brooklyn, NY) and Yusto/Giner (Marbella, Spain). Morgan’s work has been featured in online publications such as Artforum.com, Hyperallergic, Newcity, Carets and Sticks and Vogue Mexico. He sat on the curatorial committee at Space 4 Art in San Diego, CA from 2010 to 2012 and was the founder and director of Sunday Project, an alternative exhibition space in Chicago, IL. Mandalay currently runs the exhibition series SPF15 on the beach in San Diego, CA.

Gallery hours for Monday, May 23rd, 1-3PM

Related Links:

Morgan Mandalay and Audrey Hope are UC San Diego Department of Visual Arts MFA Candidates. For more about their work, please visit:

Audrey Hope
http://audrey-hope.com/

Morgan Mandalay
http://www.morganmandalay.com/

Image Credit:
King Ludwig II in the Venus Grotto. Illustration by Robert Assmus, 1896.

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