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Many of us ponder at times whether the “I” and the “Me” are equal parts of one unified organism that constitutes the “self.” While it’s true that we all can assume the “self” is a social process or an ongoing work-in-progress, we’re also aware of the magnitude when the “I”, which claims a certain position or privilege in society, outweighs the “Me” who is receptive and sympathetic to our constant social and political frictions. If we take the analogy of “what comes first, the chicken or the egg?”

Dissonance is a curious thing. Looking at the installation as a whole, it’s possible, perhaps even encouraged, to perceive the underlying, humming discord between approaches to material, narrative, and order. Dalal, Goldfarb, Shaver, Sterrett Smith, and Strauss each have their own distinctive forms of production; their own peculiarities, obsessions, and compassions.

Many of us may still remember how the great Athenian statesman Pericles proposed to melt the gold from the statue of Athena, patron goddess of the city, when the war against Sparta was exhausting all of Athens’s funds. Which leads us to think about how a symbol can elicit such strong emotional responses from the nation’s citizens when it is at the risk of being desecrated.

When Arthur Simms was barely 4, in 1965, his mother left their home in Kingston, Jamaica, for the United States to support her family as an au pair. A

The artist transforms collections and inspirations into poetic assemblages wrapped in hemp at Karma Gallery in Los Angeles.