Things of My Affection
Xerograph transfer, encaustic, oil paint, 4” x 5”, 2018
I'm wasting more space than I should
Archival inkjet print, encaustic, oil paint, 12” x 18” x 1”, 2018
Sitting cross-eyed I'm likely
Xerograph transfer, encaustic, oil paint, drywall, 5” x 7” x 1.5”, 2018
Stressors and other contributing factors
Graphoscope, vellum, hair, nails, wood, redwood shelf, 4” x 4” x 19”, 2017
Everything that I could keep inside
Mixed Media Installation, Variable Dimensions, 2018
In her latest exhibition, Everything That I Could Keep Inside, Angela Casagrande’s new work is centered around the afterlife of memory. Resulting from a fascination with the frailty of memory, her work examines memory as an aspect of liminal space, the beings that inhabit this space and the artifacts left behind, both physical and immaterial. Her graphoscopes serve the dual purpose of reliquary and assemblage – both housing sentimental mementos while displaying these items as narrative pieces. The act of encasing photographic images in encaustic wax refers to methods of Spiritualist communications with the spirit world through wax divination, along with preservation and occult binding practices. By coating these images in layers of wax, Casagrande binds the memory in place, saving it from decay.
Angela Casagrande lives and works in Sacramento, California and was a recipient of the 2015 Julia Margaret Cameron Award. She has exhibited in solo exhibitions at Axis Gallery and Kaneko Gallery in Sacramento, California. Her group exhibitions include The Women’s Show at South x Southeast Photogallery in Molena, Georgia and Of Memory, Bone and Myth at the Colonel Eugene Myers Gallery of Art, University of North Dakota, Grand Forks, North Dakota. Her work is in the public collection at Colonel Eugene Myers Gallery of Art. She currently created a series of hybrid camera obscuras for her MFA Thesis Exhibition in 2018 at Institute of Contemporary Art at Maine College of Art in Portland, Maine.