Alisa Sikelianos-Carter,  It's In Our DNA , 2017

Alisa Sikelianos-Carter, It's In Our DNA, 2017


Dimensions of Alterity                                                                                                                  April 13 - 29, 2018


For immediate release:


PARADICE PALASE is thrilled to present Dimensions of Alterity, a group show discussing the grotesque, the chimeric, and the carnivalesque. From early manifestations on 1st century Roman grotto walls to the 15th-18th century European notions of the grotesque and carnivalesque body, this current exhibition compares historic traditions with our contemporary understandings as a fundamental human experience.

Current interpretations of the grotesque equate to “gross” - messy, bloody; organs out on the table for display; B-horror movie blood unnaturally spraying out of cut-off arms. But where are these images rooted in? The term “grotesque” originates from 15th century Italy when the original site of Nero’s Domus Aurea was excavated to renovate the palace. It was there, in the depths of the foundation built over by past emperors for centuries, that they discovered fresco drawings from the imaginative minds of Romans circa 64 AD. The artwork was deemed grottesco, or of a cave, and soon came to inform a new style of grotesque art that partially defined Renaissance Europe.

In Rabelais and His World, written in 1965, the prolific theorist and writer Mikhail Bakhtin talks about the “sportiveness of the grotesque” and the humor behind the carnivalesque nature of renaissance times. In this exhibition there is certainly a jest quality, but it is also about the fantastical and the impossible within our current reality. And in that is a sort of comedy too, as Bakhtin suggests. That we can imagine the ways bodies can exist in other forms and we can depict it so fully is certainly absurd. The chimeras and monsters that Colin Radcliffe creates are cute and silly, but are dual-y serious and contorted - they constrict, swallow each other, swallow themselves eternally. They relate most closely with the drawings found along the grotto walls, pure imagination of animal hybridity. Bodily cycles are a core focus for Bakhtin - he writes, “the parts through which the world enters the body or emerges from it, or through which the body itself goes out to meet the world” is therefore the means in which we cycle; through our extremity orifices (1). Like the dragon eating its own tail. Or our bodies being pulled into other dimensions, abstracted from ourselves.

The word other is often interchangeable with the word abstract, as in something removed from its source and viewed outside its home, its context. The abject abstractions in Luke’s, Olivia ’s and Alex’s works ring true to the traditional grotesque, which is somewhat ironic considering the contemporary means in which they are produced and depicted. The blood-like fluid that pumps through Luke Todd’s sculptures is color-matched to his own blood, and despite the contorted abstraction of bodily fluids into these shapes, we hear the hum and grumble of the Blood Ball motor pumping at the pace of a heartbeat. It reminds us simultaneously of modern mechanics and the ever-present sound of our existence.

Olivia Taylor’s flesh pillow is aptly titled Dangerously Cheesy - an obvious reference to the Cheetos mascot tattooed on one side, and the almost fluorescent orange coloring “smeared” across the top half. As if the “skin” was sourced from a snack binger, it’s equally funny and disturbing to think that much material could be from one person; from one clean section. These subtle dualities are explored throughout much of the show- the familiar/real and the abstract/imaginative.

Although the abstracted self (and the abject self) is a more contemporary depiction, it relates to the notion of the grotesque and the body being a codependent relationship. For example, in carnival celebrations masks were sometimes seen as an extension of the body, of the face. Katie Green builds her masks as functional objects. She often documents them through a ritualistic performance, and the monsters she sculpts are simply mascots for a greater experiment in the ways mundane and inanimate objects can be brought to life as a means of community engagement. In many ways, that experience mirrors 17th and 18th century carnivalesque celebrations.

Alex Patrick Dyck’s installation is site-specific and titled Anima Sola Animal. A body separated, chained, and captured is displayed like an alter against the wall. Her installations are in a constant state of decay, changing in texture and color as a morbid reminder of our own mortality. The smell of the flora emanates out from the piece as it slowly rots and returns to once it came like the never ending cycles of the body. Often referenced in her work is mythology, in particular the women who play starring and supportive roles in the various tales. This most recent installation relates to Andromeda, who was punished unfairly for her beauty and chained up to die by the wrath of sea monsters. Additionally it honors Ana Mendieta, the Cuban-American performance artist who met her untimely death in 1985 when she was pushed out a window at the suspected hands of her spouse and collaborator, artist Carl Andre. He took their ideas and is considered now a prolific artist despite never being punished for his crime. These two women were fated from the start it seems, seen more as objects to be swallowed and destroyed than as the higher beings Alex guides us to believe. The various parts of the installation - the metal cuffs, the locked box of Andromeda, the pile of flora at the floor - suggest an alter that has been built to pay homage to these warrior women.

Alisa Sikelianos-Carter’s latest series depicts Future Descendents, black femme deities adorned fully in cornrows, dreadlocks, and twists as armour for attacking white supremacy, micro-aggressions, and misogyny. She aims to create an alternate reality, a much needed alterity where there exists a symphony, of black people as their truest spectral beings and majestic goddesses of ancestry. In Venus is the Cauldron | Black is the Beginning we are presented three future descendents aligned in a pinnacle - the strongest form - as they seem to embark through time and space into other realms, or maybe this realm. They have emerged out of metamorphosis into magical deities prepared for battle. Bakhtin considers this transformative step a “fundamental existential experience” (1) and therefore a core making of the grotesque body.

Dimensions of Alterity is open April 13 - April 29, 2018 with gallery hours Saturdays and Sundays 12-6 pm and by appointment. For questions or to request any images, please email Lauren or Kat at


About the Artists:


Alex Patrick Dyck / @yokosnoopy

Alex is a poet and splosh artist. She is a romantic hoarder of sentimental trash and trampled roses, an altar builder, and a memory gatherer. She explores her own vulnerability in her attempts to preserve the inherent fragility of natural objects as they encounter resin, metal, and bodily fluids. The incorporation of obscured and disjointed text is used as a way to both establish intimacy with the viewer as well as to remind us that understanding and language are not identical. The works are constantly decaying and changing in texture and color, a grotesque reminder of our own mortality. Dyck has curated 12 immersive shows over the last six years with her art gang Noodle Beaches for Meeting Witches. She has shown in NYC, California, Maine, India and Tokyo. She lives in New York.

Katie Green / @katiegreenart

Since graduating with a BFA from University of Calgary in 2014, Katie Green’s career has expanded to take on various forms with a unified interest in how artistic practice can create social interaction and a sense of cohesion. She has explored this by embracing the strength of collaborative relationships, integrating community voice, and taking my practice into the public realm. Her work is diverse, from large-scale public mural installations, relief sculpture, and most recently mask and puppetry. She is interested in how public work alters the landscape of an individual’s community - not only through the physical transformation of a mundane object (may it be a wall, a structure, or a found object for a mask) but more importantly, the way they construct that community in their minds. With the unexpected outcome of observing how creating work in and with the public can change the way people interact with their surrounding environment, Katie sees a great opportunity to make creative practice more inclusive.

Colin Radcliffe / @colinmemaybe

Depicting the afterlife and spiritual entities doesn’t seem fully possible to Colin Radcliffe though he certainly tries. It’s like trying to describe what you see in your neighbor's yard by looking only through a tiny hole in the fence. You garner some understanding but you can’t totally comprehend the whole yard. He knows the afterlife is there, but he doesn’t have all the answers. He has loved and lost so many dear friends, relatives, and strangers. Creating work that dips into the afterlife is a great comfort, and an ode that he wants to share with others. It is inevitable for Colin that he will die. Even you, too, will die. Though death is easy, dying is hard. What comes after is easier, escapes logical comprehension, is more colorful, vibrant, and unusual. The afterlife is asomatous, outlasting the physical. It is filled with spiritual beings — angels, demons, our loved ones departed, and all manner of spirits. In life spirits guide the eye, constantly giving us information, hints, clues into our lives and what lies for us after. If you allow yourself to be sufficiently receptive, then the premonitions, omens, dreams, visions, signs, and symbols reveal their inherent significance.

Alisa Sikelianos-Carter / @alisasikelianoscarter

Alisa wants to live in a world in which every micro-aggression, attack on humanity, and doubt of divinity aimed at Black Women is destroyed by aggressively Femme, future- sent deities. These Goddesses are completely enveloped and adorned by magnificent cornrows, dreadlocks and twists. The hairstyles act as armor and weapon, protecting and repelling wearers from white supremacy and misogyny. These are the beings she creates. “My wildest dreams realized; a marriage between the spectral beings we (as

Black people) can and will transform into as a result of the culture we currently live in with the majesty, magic and tradition of our ancestors.” These Future Ancestors are her response to, and escape from the many ways Black bodies are policed and demonized; white america’s historical repulsion to Black hair and the more contemporary fetishization and appropriation of Black hairstyles within popular culture. They are the gatekeepers of her rage and sadness, projections of power and freedom, cast onto an otherworldly reality.

Olivia Taylor / @lemon.bitch

Olivia creates tactile, stylized and interactive sculptures using materials such as silicone, foam and plastic. Her works reference the body and its functions, as well as identity (specifically her own) and its ties to commodity. These sculptures are all fabricated with the intention of audience participation.  They are meant to be touched, often producing a physical reaction that engages the viewer and creates an active exchange rather than a passive one. The aesthetics of her work mirror those found in young children's toys, pulling from bold and primary color palettes and simplified geometries. She feels there is a great importance in maintaining a sense of play, especially when it comes to the art world as it loosens our inhibitions, allowing us to become more receptive to abstract concepts and create our own storylines. This realm of the pretend is crucial in the development of our identities. Through the manipulation of casts of her own face, in palette, surface and shape, she demonstrate the malleability of her own identity and how it adapts to the various external influences of our daily lives. While many may deem consumerism an empty and superficial practice, Olivia chooses to see the life and beauty within commercial products, considering every aspect of their production from conception, to design, fabrication, marketing, distribution and consumption. Viewers will find traces of themselves and the products through which they cultivate their lives and question where one ends and the other begins.  We are all plastic, carefully designed, and indisposable.

Luke Michael Todd / @lukemichaeltodd

New York-based artist Luke Todd’s background in engineering informs his study of matter, interaction, and space through sculpture and installation. Employing industrial and mechanical motifs, Luke’s work places the viewer in dialogue with the material nature of the self as well as an the inherent human attraction towards perfection. Lifting inspiration from naturalistic forms, his work occupies an uncanny place between natural and artificial. Luke graduated from New York University in 2015 and has assisted for artists such as Do Ho Suh and Lucien Smith.