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Fauerso's compositions feature figures isolated against nearly blank "backgrounds". Yet this compositional spareness works only to amplify the sense that all is not stable within the borders of her work. For instance, in 'Force Field' a planar, nearly cubist, male body pulls a monolithic blackness over his head, or seems to emerge from it. The featurelessness of the black, and the feathery edges of the mark, remind the viewer that this force field is pigment itself: the black wedge stands as obdurate representation. -Michael Jay McClure, PhD, Exotic Matter

How can form be talked about in terms of absence? In Joey Fauerso's art, figure and ground meld and occasionally merge completely. Landscape is presented as a simplified body-a surreal synthesized, anthropomorphized terrain in which metaphorical boundaries are merely physiognomic smudges. Themes of vulnerability and ecstasy recur. However, the position and rendering of Fauerso's subjects produce a reversal-or, rather, an evolution-of traditional notions of the sublime as espoused by Romanticism and it's proponents. -Anjali Gupta, Antediluvian Dreams

Art history is rife with these kinds of depictions of available females lounging naked in the woods, never mind that most reasonable people are usually fully clothed in the woods due to ticks, mosquitoes, thorns, rocks, or whatever else... The reversal of nudity onto the male subject is an amazingly effective and simple device that allows us to actually see the reverse of assumptions and biases that underwrite most art historical periods. Fauerso’s work is like a video cousin to Sylvia Sleigh’s luscious paintings of nude men, portraits that struck a chord with Linda Nochlin. -Abraham Ritchie, Beyond the Funny

The work speaks to the meditative experience that happens not only as Fauerso prepares hundreds of individual oil paintings for the animations, but how connected and present in the moment the artist has to be in order to execute these monumental one-shot watercolors. The role of the meditative state is further augmented by the artist's use of repetitive cycles in the videos, looped to create a kind of breath-like, contemplative rhythm. -Hamlett Dobbins, Director, Clough-Hanson Gallery

Precise yet painterly portraits are captured from electronic pixels; at least six portraits for every second of video. Just as ten seconds is a long time to be a head without a body, Fauerso's 227 lusciously rendered and nuanced portraits invite us to meander through the complexity of human expressions. Face-to-face it is almost impossible not to make our own faces. -MaLin Wilson-Powell, curator

Wide Open Wide is comprised of three vignettes that flow seamlessly, organically, from one to the next, without resolving into a linear narrative. The video begins with Fauerso's paintings of the night sky around Roswell. Their cropped edges create the sensation that we are gazing at the stars through a telescope or a portal of some kind (a portal whose shape echoes that of an open mouth). -Kelly Baum, Curator of Modern and Contemporary Art, Princeton Art Museum, Mind Wide Open