Leah Collins wrote a thoughtful piece on my installation at the Gardiner Museum. We talked about how strange it is to have made an installation that imagines a spreading infection, just before COVID19 took over the world.
I wrote this article with Natalia Arbelaez, Habiba El-Sayed, and Heidi McKenzie. In it we draw attention to the art world’s ongoing tendency to marginalize artists who do not fit a Eurocentric, male, heteronormative worldview. More importantly we talk about how each of us uses our artwork to disrupt this pattern.
“Raw clay is emerging as a compelling medium for contemporary art, taking on new relevance as conversations around identity, visibility, and survival on our planet develop. From sticky and wet to dry and powdery, raw clay speaks to primal themes like the land, the body, and memory. Perhaps most significantly, clay reaffirms our essential connection to the earth. As digital screens come to dominate our vision and disconnect us from an increasingly threatened environment, clay takes on a critical role in resisting our withdrawal into the virtual.
Four new installations by leading artists working with unfired clay—Cassils, Magdolene Dykstra, Azza El Siddique, and Linda Swanson—invite you to discover new possibilities in an ancient medium. The artworks on display are all in flux and will transform throughout the exhibition.”