PROJECTS > Everything You Need Is Already Here (2014)

Everything You Need Is Already Here
Temporary, Improvisational installation: unresolved art projects, left-over exhibition postcards, magazine pages, roll-ups, Netflix envelops, receipts, cardstock, cardboard tubes, painter’s tape, champagne corks, hand-spun wool
2014
Specimens
Shadowboxes, collected magazine images, T-pins
30" x 40" each
2013
Specimens
Shadowboxes, collected magazine images, T-pins
30" x 40" each
2013
On Repeat
Inside of the exhibition take-away: Remixed song lyrics
2013

Everything You Need Is Already Here (2014)
A solo exhibition exploring repetition, desire and impermanence
January 17 - February 17, 2014
Heaven Gallery (Chicago), in conjunction with BOLT Residency

"Everything You Need Is Already Here" explores the spiritual predicament of desire, the presence of impermanence in everyday life and the possibility of responding to it with wonder and play, as opposed to anxiety. This solo exhibition brings together works from "Specimens" (2013), a series of pinned, shadowbox collages made of advertising images collected from glossy magazines, with an improvisational sculptural installation assembled on the floor of Heaven Gallery.

Stacia Yeapanis highlights the nature of impermanence in an installation that only lasts the length of the exhibition. "Everything You Need Is Already Here" is inspired by the sites and relics of the human pursuit of a spiritual life—shrines and altars, mandalas, rock gardens and cairns, stupas, rosary beads, icons. The thousands of individual components, which will be reconfigured in future installations, are byproducts of the artist’s private meditation practice. The repeated gesture of coiling, winding, rolling easily-accessible materials, which results in an accumulation of empty centers, becomes an embodied metaphor for presence. Yeapanis chooses both manufactured goods and collected detritus of her life as an artist, a consumer, a cultural participant and a waitress, because these materials represent an acceptance and engagement with what is, rather than a striving towards what should/could be.

The “creatures” from "Specimens" (2013) are reconstructions of mundane desires—for food, sex, status, romantic love, escape, physical perfection. These desires, which can never be satisfied once and for all, are manifestations of a deeper, more profound longing to be a part of something larger than our small selves. But the existence of mundane desire and the prevalence of consumerism as a response is not evidence of a human flaw, but rather another gateway to presence.

The apparent contradiction between the mass-media materials and the spiritual practice that generates the individual parts of the whole is an illusion. The only place a spiritual life exists is wherever we are. Every moment, every nook and cranny of our public identities and private histories, every manifestation of our striving and longing is an opportunity to fully be alive. The artist’s embodied meditation and the viewer’s visual contemplation are intimately connected; both are sensory experiences of repetition that can transform anxiety about impermanence, uncertainty and imperfection into curiosity about the mystery of what’s actually here.