Interface is pleased to present a solo exhibition by Canada-based installation artist, Jenine Marsh. Marsh’s exhibition will be accompanied by a newly commissioned text by Bay Area author, Claudia La Rocco.

Marsh’s sculptural work re-imagines corporeal experience as an embodiment of surfaces of contact. Familiar objects and simple deformations feel out alternatively tactile modes of agency and exchange at the body’s periphery. For Interface, Marsh will present a new sculptural installation continuing her recent explorations with train-pressed coins. The installation will center around a series of floor pieces, resembling large coins,  which will be filled with a mixture of concrete, soil and wildflower seeds - an urban version of a guerilla gardening recipe for seed bombs. The floor pieces will be set in conversation with figurative elements using the artist's own clothing and cast body parts as well as soldered works using train-pressed coins. Marsh considers the flattening and destruction of coins as not only an anti-capitalist sculptural act, but also as a potentially feminist, transformative gesture, producing alternative modes of value and exchange which are tactile, embodied and personal.

La Rocco works with found language and collage. Mucking around with and in between genres, she often recycles and misuses her own writings, playing with juxtaposition and accident. She is interested in edges and textures: the materiality of words and grammar. She views her piece for this exhibition, entitled “Two-Page Collection,” as a kind of collage or modular poem made up of some new writing and some quotes from previously written pieces. It consists of “stand-alone” sentences and phrases that are nonetheless existing in relation to each other and can fit into any order, depending on the reader. The sentences will be cut up and presented in an envelope rather than in a specific order on a printed page. While not writing specifically about Marsh’s work, it did inform some of the writing. Marsh in turn selected the title for the show from a line in La Rocco’s “collection.”

This exhibition marks the beginning of a series at Interface pairing its exhibitions with newly commissioned writings by Bay Area writers. The writings and the exhibitions are viewed as entirely independent but are designed to complement one another.

Please join us for an opening reception on Friday, October 26th from 6-9 pm where La Rocco will read her new writing and there will be a conversation with both artists.

Jenine Marsh is an artist based in Toronto, Canada. Recent exhibitions include Entangled Tales, Rupert (Vilnius), Orientering with Entrée (Bergen), Occupations of Uninhabited Space, Gianni Manhattan (Vienna), How deep is your love?, Cooper Cole (Toronto), feminine marvelous and tough, Lulu (Mexico City), TRUE LIES, Night Gallery (Los Angeles), GUTTERSNIPES, Vie d'ange (Montreal), In a world of weeds, all roses are wild, Beautiful (Chicago), A Change of Heart, Hannah Hoffman Gallery (Los Angeles), and The cut flower still blooms, 8-11 (Toronto). She has participated in residencies at AiR Bergen at USF Verftet (NO), Rupert (LT), the Banff Centre (CA), and Vermont Studio Center (USA). Her work is represented by Cooper Cole in Toronto.

Claudia La Rocco is the author of the selected writings The Best Most Useless Dress (Badlands Unlimited) and the novel petit cadeau (The Chocolate Factory Theater). animals & giraffes, her duo with musician/composer Phillip Greenlief and an ongoing roster of collaborators, has released two albums: July (with various musicians; Edgetone Records) and Landlocked Beach (with Wobbly; Creative Sources). Her poetry and prose have been published in 6X6 #34: I Like Softness (Ugly Duckling Presse), Imagined Theatres: Writing for a theoretical stage (Daniel Sack, ed; Routledge), On Value (Ralph Lemon, ed; Triple Canopy), et al. She has received grants and residencies from the Doris Duke Charitable Foundation, Creative Capital/Warhol Foundation, and Headlands Center for the Arts, among others, and has bylines in numerous publications, including ARTFORUM, BOMB, and The New York Times, where