The Austin art scene takes a couple of punches at sincerity and sweethearts with a show at Volitant Gallery called “Take Me To Bed or Lose Me Forever.” Prima facie, everyone cries crocodile tears about the floor, the floor, the immaculate misconception of marble floors. Still, it was perfectly suited for one of Bunnyphonic’s anachronistic and Schadenfreudian environments. Keeping true to the constitution of Emvergeoning in the new year, I am writing a review of my own group show because this is, after all, “The Most Difficult Art Blog in America.” So, Bunnyphonic’s visionary, stellar, and Fellini-esque performance kept people cozened for about thirty minutes. Then they got antsy and headed for the bar, which was stocked with two generous bartenders armed with Tito’s and “codpieces.” Leona Scull-Hons captured the cliches and curiosities of lover’s cabinets by curating a bunch of artists that covet attention. Heyd Fontenot’s raw, nude drawings brought lacsivious overtones to other works that seemed soaked in sentimentality and sometimes petty vengeance. Eileen Maxson brought her unique style of levity to the show with overdubbed and cleverly edited versions of Disney films. Jenny Schlief managed to self-copulate in a subtle, sweet way while dressed as a sleepy bunny.
The morose sweetheart of the show was easily Leah Marhov-Lindsey with her embroidered “Memento Mori” series. Slices through the supple surfaces, Lindsey captured the deaths of unidentified women murdered in Texas by stitching the listings of their accessories and clothing at the time of their final, violent scenes. Eventually, you leave the gallery feeling like suffering and maudlin elements can be soothing or irritating, depending our ability to enjoy all things heartfelt.

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