Hope Creek (2024)
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Hope Creek is a group show by SOAP Magazine. Hope Creek is also a nuclear power plant in New Jersey.
Featuring work from Danka Latorre, Roan Collom, Chase Cohen, Noor Shoresh, Graeme Mounsey, Dylan Teaford, and Sophie Nelson.
None of these images were ours but they are because we have seen them. We hold hands with Paul Simon and Rudy Giuliani. We fuck Carl Jung from behind. We are every celebrity ever born because they can’t touch us. We all share one pair of pants named responsibility. Samsara inside a busted open train car. Aerial footage of an ego death. We clowned in this motherfucker. We drunk-drove ourselves around town. We rang a large bell that can’t be unrung. We make art because everyone else does.
The heart of the show is “The Pile," a large mixed-media sculpture that fluctuates between awe and ennui in the inescapable shadow of the 30-mile-tall mountain of images. This piece and this show crystalize the experience of growing up on the internet, completely inundated with terror, beauty and information from the very moment we opened our eyes. Car crashes, guns, angels, memories, totems, sex, cameras, and language collide in the pursuit of this communication.
Ideas follow feelings and feelings come from what we see, and no humans in history have seen as much as we do today.
Hope Creek is a group show by SOAP Magazine. Hope Creek is also a nuclear power plant in New Jersey.
Featuring work from Danka Latorre, Roan Collom, Chase Cohen, Noor Shoresh, Graeme Mounsey, Dylan Teaford, and Sophie Nelson.
None of these images were ours but they are because we have seen them. We hold hands with Paul Simon and Rudy Giuliani. We fuck Carl Jung from behind. We are every celebrity ever born because they can’t touch us. We all share one pair of pants named responsibility. Samsara inside a busted open train car. Aerial footage of an ego death. We clowned in this motherfucker. We drunk-drove ourselves around town. We rang a large bell that can’t be unrung. We make art because everyone else does.
The heart of the show is “The Pile," a large mixed-media sculpture that fluctuates between awe and ennui in the inescapable shadow of the 30-mile-tall mountain of images. This piece and this show crystalize the experience of growing up on the internet, completely inundated with terror, beauty and information from the very moment we opened our eyes. Car crashes, guns, angels, memories, totems, sex, cameras, and language collide in the pursuit of this communication.
Ideas follow feelings and feelings come from what we see, and no humans in history have seen as much as we do today.