Although the two documentaries were made 30 years apart, these stories help us understand the true scope of loss and the way reverberations from trauma can stretch out further than it’s possible to see.
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Amalie Atkins’ artistic practice has been indebted to the sublime prairie landscape for over a decade. “The Diamond Eye Assembly” expands this devotion, creating a magical tale of matriarchal futures inspired by the depths of loss and mourning.
“A material exploration of identity appears in the raw linen canvas of his paintings, often exposed through a series of puzzle-piece-like shapes that rupture the picture plane and, as deForest describes, leave an opening for the viewer to burrow into the painting.”
It is in the garden of decay and of growth, the garden of manicured nature, that Tagny recognizes the potentialities of gestures of care, and the significance of attuning to the rhythms of nature.
Like many Sublime images, both beauty and tragedy mark the two major emotive qualities of Koke’s landscape works, and in spite of these definitions being oppositional, there’s almost no other way to describe them.
In conversation with the artists about their relationship to object agency, Lum and Desranleau elaborated on their history with materials and their performative potential.
Rooted in ancestral knowledge, sacred materials, and traditional teachings, KC’s recent work uses materials and process to investigate the continuous transfer of knowledge throughout generations, walking in the footsteps of her ancestors.
“As I get older, my photographic practice is being challenged by a newfound sense of abject. I am still trying to explore themes of rebellion and angst but, perhaps, in a more reserved way through the use of satire.”
Movements in Place: The Community-Based Interventions of Jorge William Agudelo Muñeton & Elena Pardo
Movements in Place: The Community-Based Interventions of Jorge William Agudelo Muñeton & Elena Pardo
What brings these places, communities, and struggles together is, among other concerns, the ways in which creative practices have been mobilized in resistance to extractivist dispossession.
“If you don’t know your history, you are doomed to repeat it. We know this line… Nothing from our past will fix our current situation if we do not accept our failures. Most of what I have created is documentation of monumentalized mistakes.”