Its Wonderful Your Demons Came Today

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Jonathan LeVine Projects, 888 Newark Ave, New Jersey, NJ 07306

                                                                                                                               

Myths are the world's dreams. They are archetypal dreams and deal with great human problems. Myths and dreams come from the same place. They come from realizations of some kind that then have to find expression in symbolic form. – Joseph Campbell

Amory’s new body of work, It’s Wonderful Your Demons Came Today, is a departure from his previous figurative work. His Waiting series focused on capturing people in a particular moment; they presented a naturalistic narrative of people in thought, perhaps thinking about the past or the future but each painting was a snapshot of the subject in the present. While the Waiting series focused on external observations, Amory’s new body of work is turned inwardly and focuses on our own internal dialogues. Rather than focusing on observations of people in the outside world, Amory now turns his attention to his own internal psyche.

It’s Wonderful Your Demons Came Today investigates personal existential questions and explores the internal struggles that comprise the human condition. Each piece of work in this show contemplates what it is to be human. Through exploration of concepts such as indecision, obsession, loss, suffering, desire, and fear, Amory illustrates a syntheses by also exploring antithetical ideas of rebirth redemption, growth, awareness, consciousness, and oneness.

The show speaks to the battle of our internal demons: the chattering roommate in our head that is so difficult to quiet and the small still voice of calm and reassurance that is so often too difficult to hear. How do we interact with our internal voices? Do we have free will to decide how our interactions take place or are we governed by instinctual drives? Current scientific theories suggest that indeed our arm moves first from a hot stove and our mind then rationalizes why it moved. This instance is so miniscule that we believe we had free will to set our arm in motion to alleviate pain. When in emotional pain, are there ways in which we can have a conversation with our internal critics to help alleviate the pressure and calm our mind? Are we all part of a collective unconsciousness where we are all tapped into over-arching archetypes that transcend our synthetic knowledge into a spiritual universal consciousness? Why do certain symbols appear and reappear across time and across cultures, in dreams and in memories? How are memories distorted by time and how do they unconsciously present themselves within a body of work and what are their meanings in relation to our present state? This body of work does not attempt to answer such questions but rather is meant to open a dialogue and to instigate conversations surrounding these ideas.