![]() ![]() Rocks to hold the jewish diaspora.Ī soft monument to my fears and a visualization of trust. Rocks to mourn the nationalist destruction of the yiddish language. My friend and lover who took her own life, my need to understand her last living moments, the care she gave and needed. Like bodies, they are permeable, porous, and impermanent.įor Emma Deboncoeur (in the night forlorn) The hard parts press against the soft parts. Others materialize transformation for our collective future. Some of the monuments give shape to loss, fear, and destruction, mine and ours. The fragments of what I have sensed, known, and absorbed are materials outside of time that can be held for remembrance or reconstructed into something wanted and not yet formed. My soft rock monuments are dedicated to the living memory of another world, memory being the place where I store a collection of possibilities. Two wide open bodies, constantly receptive, with a shared circulation system that is simultaneously open and closed.Ĭlay, black walnuts, charales, found assorted rocks, shellac, chalk, and materials from Lake Michigan including basalt, limestone, granite, mudstone, agate, vesicular basalt, jasper, gabbro, diorite, sandstone, slate, gneiss, concrete, clay brick, and iron slagĮach monument is an eroding form that is more like a body than an altar, a body being a collection of minerals and organisms in a general shape that is said to be mine. The dishes are relational, not entirely themselves.Ī paired vessel, both singular and plural, joined in a passage of reciprocity. A pitcher is also the space between a cup and a spoon. There may be more spilling than pouring (they are ecstatic and get in their own way). A spoon is for carrying from the holding place to the mouth. Some parts are designated for moving the food around and others are places for holding. Pitcher becomes cup, cup becomes plate, plate becomes spoon, spoon becomes pitcher. Glazed porcelain, stoneware, and ochre clay In collaboration with Gwyneth Zeleny Anderson Giving and receiving gradient (transition dishes) Flowers are faces and genitals all at once. Giving and receiving care is as necessary and as complicated as water.Ī screen for seeing through. Sometimes nurturance looks like kinship, sometimes it looks like labor. It is messy, counterproductive, and more distributive than accumulative. People who give the most care and people who need the most care are marginalized because nurturance runs counter to capitalism. The responsibility of care is unequally distributed, and so is the right to receive care. My need for care and my ability to give it ebb and swell. When I give water to myself, there are unseen hands and resources supporting mine. I drink because someone lifts water to me. ![]() Nurturance can be unwieldy, difficult, incomplete, impossible, visionary, outward, inward. My shapes are both material and impermanent, like bodies, like earth, like the spaces within and between forms. ![]() In these vessels and material works, I'm feeling permeable. The exhibition is dedicated to porous insistence, floral directness, unwieldy interdependence, and rocky resistance. ![]()
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