REVIEW: Violence of Everyday Objects: Thoughts on Phoenix Lindsey-Hall’s “Flame Tempered”

Violence of Everyday Objects: Thoughts on Phoenix Lindsey-Hall’s “Flame Tempered”
written by Conor O’Brien, The Living Gallery

"Flame Tempered"

“Flame Tempered”

The first object in Phoenix Lindsey-Hall’s show “Flame Tempered” is a ceramic knife. It is without much definition, and barely noticeable from a distance, fading into the white walls of the gallery. It seems small and fragile compared with the other pieces on display, especially the dramatic eponymous piece of the show. But this object sets a certain tone for when one goes on to encounter these other objects. The knife occupies a strange space in the world of objects: it belongs equally to the world of the everyday mundane and the world of violence. The particular knife Lindsey-Hall has chosen to cast highlights this fact. It is unclear without further definition whether this particular knife is a normal kitchen knife or some kind of hunting tool. The distinction between mundane object and weapon is obscured.

Objects do not have intent; they reflect the intent of their user. It is this reflective quality that is most unsettling aspect of everyday objects. And it is for this reason that even prior to understanding their context, the collection of ceramic objects exhibited in Lindsey-Hall’s show seem so unsettling cast in their ghostly, monochromatic white. The knife is the most obvious example of the crossover between the world of the mundane and the world of violence, but as soon as one is put into this frame of mind, it is difficult to not imagine the inherent danger of the other objects: a plunger, a bottle of bleach, a soup can, baseball bats. Without further definition, the objects in the show are reduced to pure reflectivity, bound neither by the world of the mundane or that of violence: each could cross with ease between these worlds.

Phoenix Lindsey-Hall speaking before the screening of 'Paris is Burning.'

Phoenix Lindsey-Hall speaking before the screening of ‘Paris is Burning.’

Phoenix Lindsey-Hall, a former lobbyist for queer-rights in Kentucky, researched and catalogued in a database a series of violent hate crimes targeting homosexual and transgender people, using this research to form the context for her work. While initially a photographer, Lindsey-Hall has of late produced ceramic sculptures of the everyday objects that she has discovered often become weapons in these violent crimes. At the “Paris is Burning” film screening and artist talk event at the Living Gallery, the artist talked about her process. She takes the ceramic objects out of their molds before they’ve dried completely so that she’s able to manipulate the slip. During the talk, she commented on how unlike photography, this process allowed her some intimacy with the object: how her hand-print is implicit in the manipulation of the clay, and how this manipulation of clay object parallels the violent act. It is an attempt at understanding the act by bringing her into closer intimacy with it, rather than the distanced understanding afforded by photography.

This process is most prominent in the surreal “Flame Tempered,” an installation of over 70 ceramic baseball bats, manipulated so as to suggest a swarming motion around a lightbulb situated in the center of the piece and which casts the piece in a dramatic, cinematic light. The artist’s photographic background translates into this piece, in the play with light and shadow, the sense of suspended motion. The piece was based on a hate crime that occurred blocks from the Living Gallery in 2008. The bat she used for the mold is one from her childhood: one with which she learned to play softball. This is a further heightening of the two poles of the object, at once a symbol of nostalgia and irrational hate. This personal context also heightens the artist’s intimacy with work, and by extension, the act it is based on.

By moving the crime from outside to inside the gallery, the artist asks for all viewers to participate in this intimate understanding of crime, criminal, and victim. Lindsey-Hall says on her website that she was interested in the bat as “an American symbol of masculinity, sport, and in this case, violent object.” Speaking at the artist talk about her interest in casting the bleach bottle, Lindsey-Hall mentioned how she felt the idea of cleansing, the need to “clean” someone who perceived to be dirty or immoral, was wrapped up in the use of the object for violent purposes. The work suggests that these objects, so often encountered and barely noticed, blending into the fabric of daily experience, not only have the potential for violence, but also that their mundane use is not entirely divorced from their violent use. Something about the fantasy of masculinity in the use of the baseball bat, the desire to purify in the use of the bleach, translates with an unsettling ease into an these acts of violence. We are invited to contemplate how the ideology and the violence exists already even in the object’s conventional use. In part due to their reduction to these characterless form, the objects in Phoenix Lindsey-Hall’s show ask the viewer to understand the crimes in which they are used not as a detached observer but as an intimate participant.


TOMORROW: BROOKLYN Punk/Hardcore Record Swap Meet and Vegan Thanksgiving Potluck!

*** PROCEEDS FROM THIS EVENT WILL BE DONATED TO OCCUPY SANDY, HOPE FOR NEW YORK (helping NYC shelters provide meals for homeless and hungry during the holidays) AND CITY HARVEST ****

The Saturday after Thanksgiving myself (Barrie Cohn), Charles Haug and Kristen Lee have organized a post Thanksgiving potluck lunch/dinner and record swap meet!

You may also sell band merch, comic books, used books and what ever other little things you wish.

We will are working on having local distros and record labels come to set up tables.

Table space will have to be purchased for VERY VERY CHEAP PRICE.  This is only to offset towards rental of the space.  YOU DO NOT NEED TO HAVE A DISTRO TO SELL! Get in touch with us if you want to set up a table to sell merch, comics, records you don’t want anymore etc!

Where? The Living Gallery, 1094 Broadway, Brooklyn, NY 11221
When? November 30, 2013 from 1:00pm to 5:00pm (TOMORROW!)
How Much? $3 (If you bring a dish or food for the potluck.) or $5 (Without it.)

Want to help? If you would like to help us organize, volunteer, set up, bring food (MASSIVE help!) or set up a table to sell things, please join our open FB group for planning:

Questions? Table pricing inquiries?
Barrie –
Chuck –

Please Note: For the pot luck, vegan and vegetarian food HIGHLY encouraged and preferred! Please join the group for other specifics and questions regarding this.

I apologize if this will be an issue for some, but we are going to enforce no booze policy. If you want to get your drink on, there are bars in the neighborhood. We apologize for the inconvenience with this.

Come stuff your face and buy/sell some records!

Record Swap / PotluckRSVP on the Facebook Event!

TONIGHT: Yoga & Meditation

Join us Tuesday nights at Brooklyn’s sacred space for independent artistic expression.


TONIGHT at 7:30pm at The Living Gallery

This yoga class is open to all levels, there is no experience required. With calming breathing practices, and a dynamic vinyasa flow the sequence ranges from moderate to intermediate. All classes end with a short meditation practice.

By Donations

RSVP on the Facebook Event!

PHOTOS: “Flame Tempered” Exhibition by Phoenix Lindsey-Hall

Artist Talk, Potluck and Movie TONIGHT!
Information Below!

Photos from the Opening Reception on November 22nd:

Exhibition Date: November 21 – 26, 2013
Opening Reception: November 22, 2013 from 6:00pm to 10:00pm
Artist Talk, Potluck and Movie: November 25, 2013 from 7:30pm to 10:00pm
Location: The Living Gallery, 1094 Broadway, Brooklyn, NY 11221
For More Information:

Reminder: Open Call for January Exhibition!

at The Living Gallery

Submit Proposals: October 7th through December 1st, 2013

The Living Gallery is always looking for new creative people to celebrate!

We are planning a January Exhibition called: “The Living Exhibition”

Open Call

Check out our past press:
Deadline: December 1st.
Submit artwork to

$20 for up to 5 images-pay via PayPal (donate button)

No proposals will be viewed without submission fee.

The exhibition date is yet to be decided but will most likely be the 2nd week in January.
All artwork will be up for one week!

RSVP on the Facebook Event!

REVIEW: Code and Language in DataSpaceTime’s “Thresholds”

Review: Code and Language in DataSpaceTime’s “Thresholds”
written by Conor O’Brien, The Living Gallery

Video of a crosswalk as it is offset by video of a taxi

Video of a crosswalk as it is offset by video of a taxi

Microscope Gallery co-founder Elle Burchill said of the people who’ve seen the gallery’s current exhibition, “Thresholds” by DataSpaceTime duo Ray Sweeten and Lisa Gwilliam, those who seemed to respond most enthusiastically to the work were the poets who read at the gallery’s recent poetry event.

Distorted text of code

Distorted text of code

Poetry uses language in a particular way. It is about association more than point-making. A word does not only signify: it has a sound, a shape, and a web of connotations and image-inducing capabilities aside from whatever its standardized definition may be. Language, of course, is not limited to words. Language informs how we think and, by extension, what we think.  If we only “read” a certain way then we will only think a certain way, and will only think certain things. Poets often play with language in order to elucidate language’s relationship with thought, and how people’s ways of thinking can be manipulated by language.

View of the space

View of the space

DataSpaceTime’s installation consists of four screens that operate on four different browsers which send information to each other, and respond accordingly, using “web-chat technology.”

The two center screens

The two center screens

Two of the screens are separated into grids that play a series of image gifs. At times the gifs work together to form a larger, coherent moving image (aerial view of a street, the top of an escalator, panning view of a graffitied wall at night), at other times the gifs off-set the larger image into abstraction. These screens sometimes resemble a digital tapestry, the motion of the gifs often suggest weaving.

The smaller screen, detail of two gifs

The smaller screen, detail of two gifs

The two other screens, a smaller one to the left of the center screens on the same wall and another screen on the opposite wall, show a visual decomposition of the information being sent to the center screens. The smaller screen breaks down the image gifs being fed to the center screens. The other screen is similar in size and grid-structure to the two center screens, but instead of images of urban scenery, this screen displays a page of distorted text under the image of a magnifying glass. The press release reveals this text to be the code the artists wrote to run the piece.

Fourth screen: Image of magnifying glass offset by image of text

Fourth screen: Image of magnifying glass offset by image of text

The code is not hidden; it is aestheticized and incorporated into the piece. This can be framed in a poetry context, as a poetic use of this language. The language of computer programming is both ubiquitous and invisible in the internet age, and only a relative minority of people can “read” it or understand its rules. The piece reveals how text informs image informs text: the language of computer code influences the images as they appear on screen, manipulating and distorting them, while the text of the code itself also becomes an image that is manipulated.

At the Listening Party, sketch #2

At the Listening Party, sketch #2

DataSpaceTime’s Ray Sweeten performed during the Microscope Gallery’s “Listening Party.” During the event he premiered what he described as two unfinished “sketches,” using the same technology as the “Thresholds” to allow the browsers send and respond not only to gifs, but also different sounds, creating audio compositions that correspond to the visual ones.

Ray Sweetey, ½ of DataSpaceTime

Ray Sweetey, ½ of DataSpaceTime

Before beginning the second sketch, Sweetey opened up a computer file in order to put finishing touches on the program’s code, explaining to the audience that he needed to “pull back the curtain for a second.” The effect is that of making the audience aware of the language behind the experience of the piece. It is a comment on language, a breaking down of text, image, and sound, and the relationship of language to experience. There is a sense that our experience, the sounds we hear and images we see, can be manipulated not only by the languages we can “read,” but perhaps even more so by those we can not, such as the language of computer code. Our everyday experience is similarly manipulated by the ways we can or cannot “read” it. DataSpaceTime is interested not only in creating the experience, but allowing the mechanics that inform the experience to be unveiled and incorporated into it.

“Pulling back the curtain”

“Pulling back the curtain”

For more information about this show visit the gallery’s page
or check out their Facebook Event. The show runs through December 1st.

TONIGHT: “Flame Tempered” A Solo Show by Phoenix Lindsey-Hall

Flame Tempered
Friday, November 22, 2013
6:00pm to 10:00pm
at The Living Gallery

The Living Gallery is proud to announce, “Flame Tempered,” the first New York solo exhibition of mixed media artist Phoenix Lindsey-Hall. With graceful chaos, Lindsey-Hall uses ceramic to transform everyday objects that were used as weapons in specific gay, lesbian, bisexual and transgender hate crimes.

The cornerstone of this show is her large-scale ceramic installation, which is derived from a hate crime that happened just blocks from The Living Gallery in 2008. “Flame Tempered” is an organic cyclone of over 70 ceramic baseball bats suspended in a mid air tumble. Illuminated with a single bare bulb casting long shadows through out the space, the work is an explosion of drama, perception and emotion. Peggy McGlone, art critic for The Star Ledger in Newark, NJ, recently described the piece as “at once beautiful and intimidating.”

This exhibition is made possible through support from Slideluck, where Lindsey-Hall recently received Crowd Favorite at Slideluck Bushwick II, The Living Gallery and Brooklyn Brewery.

RSVP on the Facebook Event!

TONIGHT: Drink and Draw!

at The Living Gallery

from 7:00pm to 9:00pm


Every Wednesday we have a Drink & Draw event!

We provide drawing materials: pencils, charcoal and paper
(Feel free to bring your own supplies if you like!)

We provide a model and drinks, and sometimes we have live music, or poetry as well!

If you would like to perform or model email us @

Drink and Draw 2013

RSVP on the Facebook Event!

PS: Don’t forget about Jennie Penny’s Drawing 101, happening from 4:00pm to 6:00pm today, too!