Guest post contributed by Brent Fogt.
Though we may be traveling, we carry with us not only our supplies and our desire for adventure but also our obsessions, doubts and fears. Regin Igloria makes this point forcefully in “How Different It Is to Be Outside” at the Chicago Cultural Center. He coopts the symbols of American road trips — the highway construction signs, way finding stations, roadside advertising, etc.— to investigate his own complex experiences with travel.
The timing of his exhibition is ideal, because school is out, and millions of Americans are now packing their cars and making a beeline to one of the 58 national parks in the USA, wanting some kind of direct experience with nature. If that experience involves hiking, they will likely encounter a brown information kiosk at the entrance to each trail. Igloria, an avid hiker and runner, faithfully recreates such a kiosk on the north side of the gallery, but with key modifications. Where park rangers might post al map or other information, he suspends a tiny piece of foliage and pins a dissected blue envelope inscribed with the word “rest.”
To the right of the kiosk is a black highway sign. Void of words or symbols, the sign sits atop a bright orange trailer with sandbags anchoring black wheels. Attached to the trailer is a metal leg from a ping-pong table, which functions as a kind of steering wheel and injects an element of humor to an object typically associated with caution and danger.
With no maps, arrows or text to tell us where to go, the kiosk and highway sign encourage us to reflect upon our personal desires. This invitation for self-examination is reinforced by Igloria’s careful integration of handmade sketchbooks into each sculpture. At the bottom of the kiosk, for example, a dozen sketchbooks rest between two planters, and in the highway sign, another dozen are shelved inside a small podium. The cover of one book reveals the word “lose,” but otherwise their contents are hidden from view.
In a wall display on the south end of the gallery, Igloria offers us a peak at what’s inside these books: a series of skillfully rendered drawings and paintings, along with journal entries and even coffee sleeves he collected while traveling. In one journal, Igloria fills one page, over and over, with the words “when expectations lead to disappointment.” Another page chronicles the chills, hunger and discouragement he experienced on a hike in Oregon. He addresses his art practice head-on in one entry:
“I never considered my work to be specifically about joy, about specific moments of happiness. But really when I look back at it, it is. It’s always taking into consideration things that essentially bring me happiness, even if it is despite the struggle, the conflicts that occur in the process of getting there.”
Igloria captures this tension between the desire for happiness and the obstacles one faces along the way in a series of paintings on the Western edge of the gallery. The paintings are crisply rendered and brightly hued, radiating a sunny optimism. The mood shifts, however, in the center of each canvas, where he alters familiar logos or icons. An “ice” logo, for example, becomes “why.” A nametag becomes “no one asked.” An oval logo (“Ford” perhaps) becomes “other.” Some of the canvases are blank, representing experiences—and struggles—yet to happen.
Near the paintings in the center of the gallery rests a cargo carrier leaning on stacks of books. Made of canvas and wood and designed to sit atop a car rack, the carrier resembles a small boat or even a twin bed. The juxtaposition of the cargo carrier and the books is especially poignant, because both are containers, the former for supplies and the latter for thoughts and ideas. Many of us travel to escape our routines and find comfort in nature, but the escape is momentary, because we carry our inner conflicts and preoccupations along with our camping gear.
Regin Igloria: How Different It Is to Be Outside
On view until August 21, 2016
Chicago Cultural Center
Michigan Avenue Galleries, 1st Floor South
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