Setting Up A Show: Evelin Velasquez’s Transfigurations
There are few things I love/hate more than the process of erecting an exhibition. The curation, the broken nails (both the hand and wall kind), the yelling at each other over stupid things like tape color, the long contemplative looks at white walls while holding a beer in your lap, the naps taken beneath half-finished frames… it’s all the drama, excitement, stress and WORK you’d expect it to be.
For the gallery’s most recent exhibition, we had just 5 days between shows to get everything prepared. That included fixing five walls and painting one side of the gallery charcoal gray. It was hectic, it was challenging, and– in the end– so rewarding. I am so proud of our team and their execution. We pushed the clock (and then some) on getting it all done, but ended up with (I believe) one of our best exhibitions, yet.
Here’s a sneak peek at the curating process in those critical moments before you unlock the doors and let the public in.
Finished wall of exhibition, Piedad (right) and Maria de los Silencios (left) by Evelin Velasquez, Transfigurations, 2014
