but it was something about living
2025
Materials:
Ink on paper, linocut and woodblock prints on mixed textiles, scraps + relics from gatherings and workshops, woodblock and linoleum blocks
Collaborating Artists:
Marin Carr-Quimet, Isabella Gamez, Fig Hendrick, Maya Rampel, Yvette Burner, L. Berner, Lillian Britt, Cora McAnulty, Seraphina Gwen, Rebecca Pempek, Cecelia Tucker, Casson Stallings, Archishma Kavalipati, Zach Aliotta, Anna Maginn, An Yang, & many anonymous contributors
The entrance to the show is marked by the remnants of real-world engagement. Pulled from the artists’ authentic lived experiences and political gatherings, prints from anonymous members of their communities drape the walls. Their tools and artifacts decorate the floor. The political messages are explicit and the presence of community is felt. Enveloped in their particular political microcosm, people-made. Their statements can be metaphorically felt or, in most cases, literally read. Yet, their tools are discarded and dot the floor. What’s happened is unclear. This room sets the conceptual foundation for the processual arrangement that follows.
2025
Materials:
Mixed Textiles, bedsheets, ink, natural and synthetic dyes, soil, rhinestones, wool, acrylic paint, polyfil, wood, noise machines, inset graphite and watercolor drawings
Marin Carr-Quimet, Isabella Gamez, Fig Hendrick, Maya Rampel
In collaboration with:
Julia Perniciaro, Elijah Pearce, Johnathan Pearce, Elijah Jones, Melissa Luna, Lillian Britt, Timothy Anderson, An Yang
Typically digestion is a solely personal experience, but through draping and bodily imagery, the space invites collective grief and wonder to be held. The next space holds a draping installation of oversized intestines and other bodily structures. Creating an internal space for collective emotional digestion, the space is heavy and cocooning, creating an internal atmosphere in which the viewer is enveloped by the full environment. Often, processing can only be done in isolation; here, the goal is to create a shared internal experience through the metaphor of shared digestion. Soft, plush forms and visible stitching reveal the artists’ hand and external action, but their depictions of typically unseen and internal forms of the body unequivocally imply the internal. The space created is a visceral but comforting and plush and enveloping environment, with concealed noise machines playing white noise and water sounds from multiple sites within the fabric folds of the large body. This relationship between the internal and external reinforces our thesis, as does the collaboratory making process.
Marin Carr-Quimet
2025
2025
Materials:
Yaupon holly/Illex Vomitoria, pine/SPF lumber, soil, copper point drawings on found wood panels
Marin Carr-Quimet, Isabella Gamez, Fig Hendrick, Maya Rampel
In Collaboration with Elijah Jones and An Yang
You are pushed out into room three like excrement and met with a form simultaneously being built in process and already affected by time and circumstance. Its plywood materiality and yet-to-be filled frame assert newness and construction. However, the horizontal situation of materials, accessorized with toppled native plants tell us that something has already happened. Again, ambiguity reigns. The space sparks a conversation with the land on which viewers stand and in which the work exists. Its plants are consistent with regionally relevant landscaping for domestic and corporate environments, but they splay out onto the floor. Ash rendered from found animal bones in the region coat its wood surfaces: a mark of decay and change. Copper bullets from automatic weapons are used to sketch abstracted images of news footage from Hurricane Helene. Humanity and nature marry in a complicated affair.
2025
Materials:
Copperpoint drawings on found wood boards.
Copper from automatic rifle bullet projectile, drawing grounds contain bone ash made from found animal bones
Marin Carr-Quimet
Drawings of wreckage from Hurricane Helene, these copperpoint drawings made using materials from killed animals and military grade weapon ammunition litter the floor.