San Francisco

Rosha Yaghmai, Hair (detail), 2019, pipe, Hydrocal, epoxy resin, limestone, Miracle-Gro, mud mask, graphite, rust, glass, earth pigments, found materials, 2' 10“ × 17' × 3' 9”. Photo: Johanna Arnold.

Rosha Yaghmai

The Wattis Institute for Contemporary Arts

A bathroom scene enlarged: floor, a few inches of wall, a lone strand of hair. The slightly raised ground is covered with what appear to be oversize ceramic tiles of a pastel-green hue but are in fact painted MDF. The trompe l’oeil binding “grout” is made of paint and sand. Along the walls, black “tiles,” roughly four feet tall, are also made of wood panels and coated with piano lacquer. Their edges hug the floor in decorative curves. The whole space is an amplified, supersize reality. “It is the unfamiliar familiar, the conventional made suspect,” Mike Kelley might say, and, indeed, this installation’s scale shift is an uncanny bending of household material.

This simulation is “Miraclegrow,” an exhibition by Rosha Yaghmai at the CCA Wattis Institute for Contemporary Arts whose title is a misspelling of a brand-name product attributed to the infamous pesticide company (which was handed

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