To Mean Inches, and Miles, but not Years, a solo exhibition at Insurance Gallery in the Granite City Art and Design District, spatializes an implied, sentimental personal history through working in concert with objects that have their own history outside of my relationships with them. Components include scraps of my own clothing and bedsheets, chunks of scrap wood from around my studio, old paintings stitched together at new orientations, my father’s hand made fishing lures, intentional screenshots of photos from 2023-2024 by myself and others, digital clippings of diary entries, and flowers that are in season near Insurance Gallery at the Granite City Art and Design District in July, 2024. While the installation of each component is highly considered, the objects are often not transformed by material means. In bringing these objects together, however, they call attention to our often digitally mediated relationship with our environment.
This work was born out of what was kept on hand and its potential, out of scrolling, and out of trying to build a habit over the past few months. We are not deterministically bound to the materials we are surrounded by but we are obligated to steward them. May we be speculative and go forward from this moment with empathy, taking the space of right here no longer for granted.
To Mean Inches, and Miles, but not Years, a solo exhibition at Insurance Gallery in the Granite City Art and Design District, spatializes an implied, sentimental personal history through working in concert with objects that have their own history outside of my relationships with them. Components include scraps of my own clothing and bedsheets, chunks of scrap wood from around my studio, old paintings stitched together at new orientations, my father’s hand made fishing lures, intentional screenshots of photos from 2023-2024 by myself and others, digital clippings of diary entries, and flowers that are in season near Insurance Gallery at the Granite City Art and Design District in July, 2024. While the installation of each component is highly considered, the objects are often not transformed by material means. In bringing these objects together, however, they call attention to our often digitally mediated relationship with our environment.
This work was born out of what was kept on hand and its potential, out of scrolling, and out of trying to build a habit over the past few months. We are not deterministically bound to the materials we are surrounded by but we are obligated to steward them. May we be speculative and go forward from this moment with empathy, taking the space of right here no longer for granted.