Papa At The Fridge from 37 Michele Lane, by Nicholas Schietromo
Untitled, Newton, 2012 from The Suburbs by Alberto D’Agostino
Inside and Out explores the two sides to domesticity through voyeurism and intimacy. Alberto D’Agostino’s walks capture the everday of suburban life, while Nick Schietromo delves into the personal aspects of relationships to home and self.
Saturday, May 10, 5:30 pm-8:00 pm
Nave Gallery Annex, 53 Chester St, Somerville, MA
May 10-May 24, 2014
Friday, May 23; 6 pm
Wednesday-Friday, 6-8 pm
Saturday, 2-8 pm
Sunday, 2-6 pm
Alberto D’Agostino and Nick Schietromo
ABOUT THE ARTISTS:
I’ve spent most of my life buried in suburbia and there’s always been this sense of emptiness and desolation in the suburban landscape. I often see a lack of actual human life but the evidence of such life remains visible. Most people spend their days at work or school, and apart from drivers on the roads, there are very little signs of activity. Even the houses themselves are closed off from one another and from the world. I find myself wandering the streets during the day observing this almost as an outsider, and I feel closed off from the landscape even though I’m in the midst of it. For me this is the antithesis to traditional street photography; there’s no glamorization of big city life, no sense of awe or wonder in the scenery, rather just the dullness of the suburbs.
Growing up with my grandparents, they never seemed to age. That changed in 2012 when my grandmother began dialysis for kidney treatments. It became important to me to photograph her and my Papa whenever I would see them. I began to realize their relationship with each other was also different than what I remembered. They live together and separately in the same house, each doing their own thing, yet in unison with each other. I started to notice the house itself was also aging with them, and as the younger generation of our family taking over, leaving the fingerprints of our pasts on my grandparents’ present. 37 Michele Lane is a collection of photographs over the past two years with my Mimi and Papa.
I collect photographs that have seemed to become lost, aged, and impersonal. Overstuffed into baskets with a “make me an offer” sign sticking out, clearly of families that once cherished these memories, but are now void of their original context. In Years Later I have appropriated these images to simulate the suggested digital decay of our expanding archive by corrupting their digitally written code.