Through the juxtaposition of family resemblances, living people and inanimate objects, moving figures and the weight of things, the works in this show examined the manner in which identity is mediated by difference. They explored the self as bound up with what otherwise might be taken to be its other, and located the work of art at the juncture between the two.

With Virginia Wolf’s Mrs. Dalloway as the inspiration and text for her installation, Virginia’s Moving Blue House, Kimberlee Koym explored the psychological interiority of ‘stream of consciousness’ through video images of animated and live-action figures engaged in repeated, meditative and, at times, dancerly movement. By installing the videos into a sideboard and chair mounted to the wall, she gave them both a body and a context, which brought the movement of thought and action they depicted into tension with the psychological significance borne by objects, and the weighty burden of corporeality.

In her Doppelganger Series, Amie Potsic juxtaposed photographic images of damaged mannequins with self-portraits taken after a bus accident that left her face similarly wounded. The pictures evoked feelings of both pain and pleasure, and highlighted the manner in which we suffer with and through the objects that constitute our world.

And, in her Family Series, Jennifer Rosenberg presented family photographs, which raised questions concerning the social dynamics in the constitution of art and identity. Her obvious fascination with her parents and vivid resemblance to them captured the role of identification in her sense of self; while her parents’ theatricality clearly contributed to the production of the pictures that she took of them, raising the questions: Who were these images a portrait of—her parents—or the artist herself? And were these pictures that the artist took of her parents, or rather pictures that they as a family engendered?