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Bruce Silverstein Gallery is pleased to announce a Viewing Room of new work by New York based artist Brea Souders: End of the Road.
The online exhibition features thirty gelatin silver prints made during a year of turmoil and precarity in the United States. Shaped by these realities, the series reflects the moment of their creation. The body of work is comprised of black and white images documenting an uninhabited piece of land leading to a gravel cul-de-sac, and the various people who visit the end of the road.
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Brea Souders, End of the Road # 1, 2020Gelatin silver print16 x 20 in (40.6 x 50.8 cm)Edition of 5 + 2 AP
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Brea Souders, End of the Road # 3, 2020Gelatin silver print16 x 20 in (40.6 x 50.8 cm)Edition of 5 + 2 AP
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Brea Souders, End of the Road # 6, 2020Gelatin silver print16 x 20 in (40.6 x 50.8 cm)Edition of 5 + 2 AP
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Brea Souders, End of the Road # 5, 2020Gelatin silver print16 x 20 in (40.6 x 50.8 cm)Edition of 5 + 2 AP
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Brea Souders, End of the Road # 4, 2020Gelatin silver print16 x 20 in (40.6 x 50.8 cm)Edition of 5 + 2 AP
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Brea Souders, End of the Road # 16, 2020Gelatin silver print16 x 20 in (40.6 x 50.8 cm)Edition of 5 + 2 AP
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Similarly, the people in the images were creating new habits, which Souders observed in their daily perambulations. This kind of walking, fully embodied, is not only a mode of transportation, but a moving meditation. Writer Rebecca Solnit describes it as, “the intentional act closest to the unwilled rhythms of the body, to breathing and the beating of the heart. It strikes a delicate balance between working and idling, being and doing. It is a bodily labor that produces nothing but thoughts, experiences, arrivals.”
These journeys are significant in both their physicality and symbolism. Arriving at a literal dead end, each pedestrian must walk back the way they came. And while this return is universal, in the world of End of the Road, what the path offers to those who take it is always different.