White Columns Online #17:
‘Vision 20/20’
curated by Marcelle G. Yhap

September 14–November 13, 2021 Online
Painting of a dark room casted with shaded, ambient light. Abstract reflections surround a mirrored window to the right and a painting of a brown room hangs in the upper left corner.

Gwendolyn Zabicki
Two Mirrors in Situ, 2018.
Oil on canvas, mirror, mirrored wall, mirrored floor
Courtesy of the artist.

Frontal view of a set of stanchions and red carpet leading up to an occupied coffin lying flat on bright green astroturf, centered in a white room. A man in a black suit opens the lower half of the casket

Simon Zoric
Coffin Rides, 2020.
Red Carpet , Rope Bollards, Synthetic Grass, Casket, Flowers
Dimensions Variable
Courtesy of Lon Gallery, Melbourne. Photo: Michael Pham.

A painting of a figure reading a newspaper at a round table decorated with floral patterns. The newspaper, titled “Sometimes: In Crisis Comes Hope,” is illustrated with a masked person raising a fist in protest. To the front of the seated figure is an ashtray containing a lit cigarette surrounded by smoke.

Kyveli Zoi
The Sometimes Edition No1, 2020.
Oil and Metal Leaf on Linen
66 × 71 cm. (25.98  x 27.95 in.)
Courtesy of the artist.

Frontal view of a window side desk. Objects like photos, posters, and books depicting intimate moments, advertisements, and travel memorabilia are scattered across the windows and desk.

Guanyu Xu
My Desktop, 2018.
Archival Pigment Print
30 × 24 in.
Courtesy of the artist and Yancey Richardson Gallery.

Floor to ceiling installation of large text in graphite reading “HOMESICK” (above) “SICK HOME” (below) in layered strokes.

Masha Sha
Home, 2019.
Lumber crayon on tracing paper
94 × 145 in.
Courtesy of the artist.

View of an office corner where photos and posters depicting landscapes and family moments are scattered across the walls and floors.

Guanyu Xu
Worlds within Worlds, 2019.
Archival Pigment Print
56 × 70 in.
Courtesy of the artist and Yancey Richardson Gallery.

A white retail bag covered in orange lettering and gyoza graphics is pictured in the center frame. Slightly opened at the top, the inside of the bag reveals the upper right corner of a styrofoam takeout container.

Yoonmi Nam
Take Out (Osaka Ohsho), 2015.
Lithograph on Gampi paper, glazed porcelain
11 × 12 × 13 in.
Courtesy of the artist.

A sculpture of an animated figure sits atop a stained, white pedestal. Wearing boots and a pink dress the character's large, brown, round head stares blankly ahead with a crackled, ivory toned face. Its arms rest gently to its sides.

Abby Lloyd
Deirdre, 2019.
Apoxie Sculpt, foam, plaster, paint
22 × 16 × 16 in.
Courtesy of the artist and Sunny NY.

Painting of two figures charging towards one another against a grey background. To the left, a figure in a red dress leans back while aiming a blue splattered baseball bat over their shoulder. The figure to the right, wearing a police uniform, is illuminated in hues of blue while one hand reaches out with an open palm and the other grips the leash of a provoked dog.

Mario Moore
Black and blue, 2016.
Oil on canvas
72 × 60 in.
Courtesy of the artist.

Participating Artists

Abby Lloyd
Mario Moore
Yoonmi Nam
Masha Sha
Guanyu Xu
Gwendolyn Zabicki
Kyveli Zoi
Simon Zoric

Exhibition Description

In 2015, I moved from New York City back home to Liberia, West Africa. I traveled around the country and I visited community schools and held workshops for students on vision boarding. I called it, “Vision 20/20.” What was their vision, what did they see themselves doing in 5 years, in the year 2020? I asked. This was an exciting adventure for some, many had not been asked such a question before, some felt overwhelmed at the thought, but everyone enjoyed cutting visions of their future from the magazines we had. We began with a short meditation and visualization exercise. We took deep breaths and visualized our life in five years, in the year 2020.

The images curated for this exhibit are not of the visions my students saw, they are not what we imagined, but they became our vision, our reality, our 2020.

Ms. Marcelle G. Yhap, M.Ed. earned a Masters in Teaching from the University of Southern California (USC) and Bachelor of Arts in Liberal Studies with a focus on Human Development and Early Childhood Learning. She works as an education consultant in West Africa, collaborating with non-government schools, and various NGOs. In 2015, Marcelle returned home to Liberia to create and implement programs to enhance school culture. She is the Creative Director of a youth-lead young women’s group in Paynesville, Liberia, and is the Vice President of Alpha Kappa Alpha Sorority, Incorporated. Ms. Yhap specializes in creating and implementing programs that emphasize community development through youth-lead programs focused on art, activism, and academics. Her passion for art has allowed her to broaden her teaching and understanding of how students view the world. She was the Art Director and Curator for the SHABU@90 Exhibit in Liberia, West Africa in 2019, the first art exhibit post-civil war. With over 350 guests to the exhibit, it helped to bring back the joy of beauty and appreciation for Liberian art. She is currently working on another exhibit hosted this December 2021 in Liberia, West Africa.

This exhibition is the seventeenth in a series of online exhibitions curated exclusively from White Columns’ Curated Artist Registry.

For more information: registry.whitecolumns.org

 

Painting of a dark room casted with shaded, ambient light. Abstract reflections surround a mirrored window to the right and a painting of a brown room hangs in the upper left corner.
Frontal view of a set of stanchions and red carpet leading up to an occupied coffin lying flat on bright green astroturf, centered in a white room. A man in a black suit opens the lower half of the casket
A painting of a figure reading a newspaper at a round table decorated with floral patterns. The newspaper, titled “Sometimes: In Crisis Comes Hope,” is illustrated with a masked person raising a fist in protest. To the front of the seated figure is an ashtray containing a lit cigarette surrounded by smoke.
Frontal view of a window side desk. Objects like photos, posters, and books depicting intimate moments, advertisements, and travel memorabilia are scattered across the windows and desk.
Floor to ceiling installation of large text in graphite reading “HOMESICK” (above) “SICK HOME” (below) in layered strokes.
View of an office corner where photos and posters depicting landscapes and family moments are scattered across the walls and floors.
A white retail bag covered in orange lettering and gyoza graphics is pictured in the center frame. Slightly opened at the top, the inside of the bag reveals the upper right corner of a styrofoam takeout container.
A sculpture of an animated figure sits atop a stained, white pedestal. Wearing boots and a pink dress the character's large, brown, round head stares blankly ahead with a crackled, ivory toned face. Its arms rest gently to its sides.
Painting of two figures charging towards one another against a grey background. To the left, a figure in a red dress leans back while aiming a blue splattered baseball bat over their shoulder. The figure to the right, wearing a police uniform, is illuminated in hues of blue while one hand reaches out with an open palm and the other grips the leash of a provoked dog.

Gwendolyn Zabicki Two Mirrors in Situ, 2018. Oil on canvas, mirror, mirrored wall, mirrored floor Courtesy of the artist. (Painting of a dark room casted with shaded, ambient light. Abstract reflections surround a mirrored window to the right and a painting of a brown room hangs in the upper left corner.)

Simon Zoric Coffin Rides, 2020. Red Carpet, Rope Bollards, Synthetic Grass, Casket, Flowers Dimensions Variable Courtesy of Lon Gallery, Melbourne. Photo: Michael Pham. (Frontal view of a set of stanchions and red carpet leading up to an occupied coffin lying flat on bright green astroturf, centered in a white room. A man in a black suit opens the lower half of the casket.)

Kyveli Zoi The Sometimes Edition No1, 2020. Oil and Metal Leaf on Linen 66 × 71 cm. (25.98  × 27.95 in.) Courtesy of the artist. (A painting of a figure reading a newspaper at a round table decorated with floral patterns. The newspaper, titled “Sometimes: In Crisis Comes Hope,” is illustrated with a masked person raising a fist in protest. To the front of the seated figure is an ashtray containing a lit cigarette surrounded by smoke.)

Guanyu Xu My Desktop, 2018. Archival Pigment Print 30 × 24 in. Courtesy of the artist and Yancey Richardson Gallery. (Frontal view of a window side desk. Objects like photos, posters, and books depicting intimate moments, advertisements, and travel memorabilia are scattered across the windows and desk.)

Masha Sha Home, 2019. Lumber crayon on tracing paper 94 × 145 in. Courtesy of the artist. (Floor to ceiling installation of large text in graphite reading “HOMESICK” (above) “SICK HOME” (below) in layered strokes.)

Guanyu Xu Worlds within Worlds, 2019. Archival Pigment Print 56 × 70 in. Courtesy of the artist and Yancey Richardson Gallery. (View of an office corner where photos and posters depicting landscapes and family moments are scattered across the walls and floors.)

Yoonmi Nam Take Out (Osaka Ohsho), 2015. Lithograph on Gampi paper, glazed porcelain 11 × 12 × 13 in. Courtesy of the artist. (A white retail bag covered in orange lettering and gyoza graphics is pictured in the center frame. Slightly opened at the top, the inside of the bag reveals the upper right corner of a styrofoam takeout container.)

Abby Lloyd Deirdre, 2019. Apoxie Sculpt, foam, plaster, paint 22 × 16 × 16 in. Courtesy of the artist and Sunny NY. (A sculpture of an animated figure sits atop a stained, white pedestal. Wearing boots and a pink dress the character’s large, brown, round head stares blankly ahead with a crackled, ivory toned face. Its arms rest gently to its sides.)

Mario Moore Black and blue, 2016. Oil on canvas 72 × 60 in. Courtesy of the artist. (Painting of two figures charging towards one another against a grey background. To the left, a figure in a red dress leans back while aiming a blue splattered baseball bat over their shoulder. The figure to the right, wearing a police uniform, is illuminated in hues of blue while one hand reaches out with an open palm and the other grips the leash of a provoked dog.)