When a Solo Exhibition Is Created by a Community


LOS ANGELES — Is a solo exhibition ever in reality solo? Maria Maea’s All in Time highlights the collaborative tactics she exists and engages inside of her group. The use of crops and repurposed subject material, Maea builds movie set-like sculptures that relate to storytelling and myth-making; with many years of enjoy in movie manufacturing, she understands the invisible exertions and processes that occur at the back of the scenes. And as a Mexican-American and Samoan artist, she sought after to show off the steadily invisible, marginalized diasporic reports and histories that experience allowed her to reach at her “right here.”

Maea’s paintings embodies tales as residing, shapeshifting beings which might be in terms of crops and different non-human topic. For instance, she harvests palm fronds and particles all the way through Los Angeles county to be used in her sculptures, through which she applies each conventional and cutting edge weaving ways. Palm bushes have been first imported into California with Spanish colonization and the construction of missions, then within the Nineteen Thirties over 40,000 hands have been planted in Los Angeles for the 1932 Olympics for beautification efforts and to lend a hand with unemployment aid. Mexican fan hands have been maximum often used for his or her affordability and palm fronds are steadily utilized in Samoan tradition. Those bushes proportion an immigrant historical past and are bountiful sources in Los Angeles, which Maea makes use of to show off her personal diasporic group and storytelling.   

Maea collaborated together with her circle of relatives within the fabrication of works for the display and the set up. Her brother Ramón features a collaged sound piece comprising exchanges of reports and humor, layered over the siren-like making a song of her more youthful sister Ariel-Evelia Tuilaepa Diaz. The conversations center of attention at the land again efforts of her members of the family who talk immediately to the erasure and needs of land. The room additionally features a Samoan Siapo textile, Tuiga headdress, and woven palm get dressed, models fabricated by way of Maea’s mom, Susana Tuilaepa’s Taōpo Creations. 

Set up view of All in Time at Murmurs in Los Angeles (2022); Maria Maea, “All in Time” (2022), hands, rebar, rotisserie motor, concrete, marigolds, wax, soda cans, Spanish moss, magnolia seed pod, dimensions variable

Within the heart of the exhibition is a whirlpool of palm fronds which encompass a sculpture of Tuilaepa shaped by way of woven fronds, her facial features forged in concrete, her hair of moss decorated with a marigold crown. Above her is a cascading chandler-like sculpture of break up soda cans. The fairway 7-Up and crimson Coca-Cola cans are minimize in some way that obscures emblem popularity and reimagines the fabric as repurposed vacation adorns or ornament. The 3 sculptures are in terms of one every other, representing the interconnectedness of the underworld/water, human/earth, and spirit/heaven nation-states.

Two different surrealist figurative sculptures, representations of her nephew, Johanon M. Tuilaepa, and brother, Martin T. Tuilaepa, are made with plant and repurposed fabrics. Held up by way of a pyramid-like trellis, the Madagascar jasmine vine generates a blooming frame for “Untitled (Nephew)” (2022). His concrete head mounts the highest of the towering vine and his wax-formed palms peek thru, as though to greet gallery guests. Dried flower displays body his face and frame, and cloud-like seeds fall and acquire within the corners of the gallery. 

“Untitled (Brother)” (2022) is made essentially from dried, brown palm base foliage and corn husks. The face is decorated with spiraled shell eyes, seed pod ears with embedded earrings, and a light blue hat with “Lengthy Seashore” embroidered in Outdated English font. On the foot of the sculpture is a sprouting onion and squash. Along the determine, a large dried sunflower towers, with a hanging dried starfish.

All in Time carries an intergenerational dialog of a diasporic immigrant group enjoy and exemplifies the artist’s procedure, now not merely the completed items. There's a mixing of fragility and power inside of her sculptures in conjunction with the expansion and demise within the topic/subject material used. They, like her weaving, proportion an intertwined cosmology.

Element of Maria Maea, “All in Time” (2022)
Set up view of All in Time at Murmurs in Los Angeles (2022); Maria Maea, “Untitled (Baskets)” (2020-2022), hands, paint, sage horn, Spanish moss, resin, dimensions variable (all footage Josh Schaedel, courtesy Murmurs Gallery)
Susana Tuilaepa, Taupō Creations (2022), Siapo textile, Tuiga headdress, palm, cord, picket, concrete, dimensions variable
Set up view of All in Time at Murmurs in Los Angeles (2022); (left) Maria Maea, “Untitled (Brother)” (2022), (proper) “Untitled (Nephew)” (2022)
Set up view of All in Time at Murmurs in Los Angeles (2022)

All in Time continues at Murmurs (1411 Newton Side road, Model District, Los Angeles) thru December 17. The exhibition was once arranged by way of the gallery.