Category Archives: exhibitions




Ficus Interfaith




Screen Shot 2019-06-19 at 3.12.54 PMIMGL9287IMGL9303IMGL9288IMGL9218IMGL9219IMGL9221IMGL9311IMGL9232IMGL9225IMGL9259IMGL9263IMGL9268IMGL9275IMGL9280IMGL9324IMGL9322IMGL9318IMGL9329IMGL9244

Ficus Interfaith is a collaboration between Ryan Bush (b. 1990, Denver, CO) and Raphael Martinez Cohen (b. 1989, New York, NY). The artists, who live in New York City, met at the Rhode Island School of Design and have been working together since 2013. Ficus Interfaith were recent artists in residence at 2727 California Street (Berkeley, CA) and Shandaken: Storm King (New Windsor, NY). Their work has been exhibited at Kai Matsumiya (New York, NY), From the Desk of Lucy Bull, (Los Angeles, CA), Interstate Projects (Brooklyn, NY), Prairie (Chicago, IL) and they were participating artists for Clay Club 2018 at SculptureCenter (Queens, New York) and NOSCHOOL in Far Rockaway, NY and Berkeley, CA.


Rubus Armeniacus (Himalayan blackberry)

“Rubus Armeniacus is an exemplary political decoration, a nutritious ornament that clandestinely modifies infrastructural morphology. Here, affect invades the center. Rubus inverts and puns upon the proprietous subordination of affective expenditure to intelligence. Tracing a mortal palimpsest of potential surfaces in acutely compromised situations, Rubus shows us how to invent. This is the serious calling of style.”

– Office for Soft Architecture, Rubus Armeniacus: A Common Architectural Motif in the Temperate Mesophytic Region (Cabinet Magazine, Issue 6 Horticulture, Spring 2002)


Decoration is a poetic and political force. Though the Arts and Crafts movement advocated for decoration’s importance, the decorative arts succumbed to society’s shift towards machine production and division of labor. The result was the chastening of decorative arts into “design” – a cultural form that became inextricably linked with the growth of capitalism. Modernism’s disavowal of ornamentation engendered a negative relationship between Western architecture and anything that could be thought of as “decorative”. Recently, decoration has been somewhat rehabilitated as a concept in art and architecture, but it remains politically fraught.

To decorate one’s home is an artistic practice, but it is always situated in the economy and the pursuit of exchange value. Interior decorating displays one’s taste and style through the collection and curation of objects and furnishings. The formal focus of Modernist discourse often obscured hidden layers of social and economic determinants, but decoration always has some political content. Through consumer culture, home decoration posits the inhabitant within the field of social capital as a means to justify materialism. It is not a mere visual spectacle. It is also a mechanism that reinforces and disseminates the encoding of socio-political structures, and thus reifies capitalist ideologies. Decoration facilitates and reproduces privileges and class status and with that, exclusion.

Today, the domestic environment can be considered one of the primary sites where radical change is taking place in everyday life. We exist in a moment in which we are able to reassess the line between leisure and labor. Like many activities today, decorating is both pastime and work. It’s a hobby that makes home life more pleasurable, while at the same time adding to the value of one’s financial and social capital, bolstering the overall value of the home.

Rubus Armeniacus (Himalayan blackberry) presents works by nine artists and architects. The works offer ways to understand the rapid social, economic, and environmental shifts our increasingly neoliberal society is undergoing today, and attempts to unpack the implications of decoration as a carrier of both personal and political meaning.


Featuring works by Denise Scott Brown (b. 1931, Nkana, Zambia), Milano Chow (b. 1987, Los Angeles, CA), Samuel Farrier (b. 1989, Woodland, CA), Ficus Interfaith (Ryan Bush, b. 1990, Denver, CO and Raphael Martinez-Cohen, b. 1989, New York, NY), Nora Maité Nieves (b. 1980, San Juan, PR), Kayode Ojo (b. 1990, Cookeville, TN), Sean Raspet (b. 1981, Washington, DC), Libby Rothfeld (b. 1990, New Brunswick, NJ), and Allan Wexler (b. 1949, Bridgeport, CT)

Curated by Jessica Kwok


Jessica’s Apartment is open by appointment only To schedule an appointment: email or call +1 (347) 443-3549 For press inquiries: email

Screen Shot 2019-05-28 at 12.16.06 PM

Water Chesnut Frieze, 2019

Screen Shot 2019-05-28 at 12.16.16 PMScreen Shot 2019-05-28 at 12.16.24 PM

The Nourishment




a group show with


2.17.19 – 3.27.19

Sunday, February 17th

2 – 5pm

In a letter to the editor of the journal Nature dated February 12, 1923, one William Garnett touted the prescience of Edwin A. Abbott’s Flatland, a forgotten novella of the previous century. Written as a satire of Victorian society, it had achieved new relevance, per Garnett, in light of Einstein’s general relativity:

Some thirty or more years ago a little jeu d’esprit was written by Dr. Edwin Abbott entitled Flatland. At the time of its publication it did not attract as much attention as it deserved. Dr. Abbott pictures intelligent beings whose whole experience is confined to a plane, or other space of two dimensions, who have no faculties by which they can become conscious of anything outside that space and no means of moving off the surface on which they live. He then asks the reader, who has consciousness of the third dimension, to imagine a sphere descending upon the plane of Flatland and passing through it. How will the inhabitants regard this phenomenon? They will not see the approaching sphere and will have no conception of its solidity. They will only be conscious of the circle in which it cuts their plane. This circle, at first a point, will gradually increase in diameter, driving the inhabitants of Flatland outwards from its circumference, and this will go on until half the sphere has passed through the plane, when the circle will gradually contract to a point and then vanish, leaving the Flatlanders in undisturbed possession of their country (supposing the wound in the plane to have healed). Their experience will be that of a circular obstacle gradually expanding or growing, and then contracting, and they will attribute to growth in time what the external observer in three dimensions assigns to motion in the third dimension. If there is motion of our three-dimensional space relative to the fourth dimension, all the changes we experience and assign to the flow of time will be due simply to this movement, the whole of the future as well as the past always existing in the fourth dimension.

Anyway, Flatland is no longer forgotten, available today in dozens of editions, celebrated as a clever fable for multidimensional spacetime (in string theory there can be as many as twenty-six dimensions).

In the same issue of Nature there appeared an article on an expansive feat of engineering underway on the other side of the Atlantic, the Coney Island Public Beach and Boardwalk Improvement—the world’s first beach nourishment project. And it wasn’t just the beaches that needed nourishing; by replenishing and expanding the shoreline, New York’s urban planners wanted to encourage the tubercular immigrants crowding the city’s tenements to avail themselves of a health cure of sun and saltwater.

How do these two things relate to each other than having appeared in the same journal? Maybe that’s enough. But if we’ve learned anything from the unforeseeable afterlife of Flatland and the great changes that have occurred in our thinking about public health vis-vis beaches, it’s that you just never know. This, of course, is an important theme in movies like The Beach (2000) and Beaches (1988), in which the beach serves as a symbol of impermanence.

-Eli Diner

The Nourishment is a group show featuring new work from Anna Solal, Joanne Greenbaum and Nolan Simon/Dylan Spaysky with specific terrazzo supports framing the works by Ficus Interfaith (Raphael Cohen and Ryan Bush).

Anna Solal (b. 1988, Dreux) lives and works in Paris and Marseille. Solal received her Masters degree in Sculpture from Ecole Nationale Superieure de La Cambre (Brussels). Recent exhibitions include Et Al (NADA Miami), Horse&Pony (Berlin), Interstate Projects (New York), Levy Delval ( Brussels), Olso10 (Basel), Art-O- rama (Marseille), Room E 10 27, Museo Experimental El Eco (Mexico City), Rijksakademie (Amsterdam), The Ister (Brussels), Yaby (Madrid) and Damian and the Love Guru (Brussels). She is represented by New Galerie (Paris).

Ficus Interfaith is a collaboration between Ryan Bush (b. 1990, Denver, CO) and Raphael Martinez Cohen (b. 1989, New York, NY). As much a research initiative as studio practice, Ficus Interfaith is focused on their interactions with natural history and environment. Their work has been exhibited recently at Kai Matsumiya (New York, NY), Interstate Projects (Brooklyn, NY), and Prairie (Chicago, IL).

Joanne Greenbaum (b.1953, New York, NY) is an artist based in New York City and Greenport, NY. Recent exhibitions include Ben Maltz Gallery at Otis College of Art and Design (Los Angeles) and School of the Museum Fine Arts (Boston), both in 2018. She is represented by Richard Telles in Los Angeles and has an upcoming show this April.

Nolan Simon (b. 1980, Detroit, MI) lives and works in Detroit, MI. He earned his BFA from the College for Creative Studies, Detroit in 2005. Recent exhibitions include What Pipeline (Detroit), Lars Friedrich (Berlin), Green Gallery East (Milwaukee) and Night Club (Chicago). Simon has a solo show at 47 Canal (New York) opening this February.

Dylan Spaysky (b. 1981, Pontiac, MI) is a sculptor who lives and works in Hamtramck, MI. He earned his BFA from the College for Creative Studies, Detroit in 2007. He has had solo exhibitions at Popps Packing (Detroit), Clifton Benevento (New York), Cue Arts Foundation (New York) and Cleopatra’s (Brooklyn). Recent group exhibitions include Hannah Hoffman (Los Angeles), What Pipeline (Detroit), Museum of Contemporary Art (Cleveland), NGBK (Berlin); and Susanne Hilberry Gallery (Ferndale, MI).


Microsoft Word - FROMTHEDESKOFKRISTATOEDIT.docx13full10side1fullFI



56 Mulock Avenue, Unit 1, Toronto, ON

M6N 3C4, Canada



Ficus Interfaith, Isabelle Frances McGuire, Michael Freeman Badour, Connor Crawford February 16 – March 9, 2019

Opening Reception: Saturday, February 16, 2019


Ficus Interfaith is a collaboration between Ryan Bush (b. 1990, Denver, CO) and Raphael Martinez Cohen (b. 1989, New York, NY). As much a research initiative as studio practice, they are focused on their interactions with natural history and environment. Their work has been exhibited at Kai Matsumiya (New York, NY), From the Desk of Lucy Bull, (Los Angeles, CA), Interstate Projects (New York, NY), and Prairie (Chicago, IL).

Isabelle Frances McGuire lives and works in Chicago, IL. Currently, they are an artist in residence at Latitude Chicago. They are the co-founder of the music group Chicago Art Club with artist Kira Scerbin. Recent exhibitions include “At the End of the Game You Will Be Forgotten” at Alyssa Davis Gallery (New York, NY), “Flat Earth Film Festival” (Seyðisfjörður, IS), and “I am a Cliché” at Prairie (Chicago, IL). Upcoming exhibitions include “Beach House” at Kings Leap (New York, NY).

Michael Freeman Badour (b. 1987) received a BFA from OCAD University in 2014. His work has been presented in solo, two person and group exhibitions at The Loon (Toronto, ON) , Little Sister Gallery (Toronto, ON), Roberta Pelan (Toronto, ON), Topless Rockaway (New York, NY), CK2 Gallery (New York, NY) and The National Gallery of Canada (Ottawa, ON) among others. From 2014 to 2016 Badour co-ran Carrier Arts, a nomadic exhibition platform which aimed to re-contextualize art with experimental programming in private, public and online spaces. He was a finalist in the 2017 RBC Canadian Painting Competition and was the recipient of the 2014 Drawing and Painting award from OCAD University.

Connor Crawford (b. 1992, Oliphant, ON) is a multimedia artist who lives and works in Toronto, ON. Recent solo, two person and group exhibitions include “Prophecy Club” at MX Gallery (New York, NY), “Act II: Joke Courtyard” at The Loon (Toronto, ON), “Acrophobia” at Main Street (Toronto, ON) and “Usher 3: Reloaded” at February (Austin, TX). Upcoming exhibitions include “Alternate Garden” at Sibling (Toronto, ON).



Modern Landscape, 2019
concrete, terrazzo, walnut frame
13 x 27 1/2  x 1 1/4 inches




Group Exhibition at Kai Matsumiya
Opening reception: Wednesday, February 6th, 6:30 – 9
February 6th – March 10th

Artists: Joan Jonas, Craig Kalpakjian, Andrew Ross, Victoria Haynes, Micaela Carolan, Joseph Kosuth (fake), Carol Szymanski, Ben Morgan Cleveland, Steffani Jemison, Rainer Ganahl, Ala Dehghan, Jason Hirata, Ficus Interfaith, Amy O’Neil, Elliott Jamal Robbins, Cassidy Toner, Maggie Lee, Raque Ford, Peter Fend, Jason Matthew Lee, Pedro Wirz, Greg Fadell.

What kinds of art would survive in the event of an environmental apocalypse? What new kinds of art would emerge? How would our very definition of “art” change if the figurative reset button were pressed on the world as we know it? Our current group exhibition, “Reset,” explores these questions, imagining the gallery as a post-apocalyptic, dystopian laboratory in which ostensibly permanent laws of nature, technology, and culture can be reconfigured.

The spirit of machines has been indispensable in rendering, modifying, and even destroying societal norms and laws, and art is certainly not immune to its consequences. The historical avant-garde was inextricable from the technological and industrial developments that defined their world, with the early French modernists referring to their own works as ‘machines’ suggesting both mechanistic dynamism and un-utilitarian creativity. The useless machine is essentially a reset button— built solely to turn itself off upon being turned on, thereby setting the process anew.

The late Marvin Minsky, once a researcher at Bell Labs Inc., devoted his career to two principal pursuits: making strides in the development of artificial intelligence and building “the most profoundly useless things” he could think of. These two projects may seem incongruous, but for Minsky they became intimately intertwined through one of his best-known inventions, the “useless machine.” For Minsky, the most advanced artificial intelligence would be capable of the most intimate, intelligent, private, and quintessentially human act, suicide. Thus, a machine that truly possessed the capacity for human intelligence would be a useless one: one whose only function is to switch itself off. Claude Shannon, a pioneer of information theory and cybernetics, was delighted by the concept of a useless machine and placed an assortment of them on his desk to entertain those who visited his office. But not everyone found the useless machine quite so amusing— Arthur C. Clarke, upon encountering an early prototype, called the device “unspeakably sinister.”

Clarke cannot be faulted for seeing something sinister in the useless machine’s built-in death drive, but a reset button leaves room for hope even in the most sinister of times: pressing reset opens up the possibility of starting all over again. The machines-as-art displayed in “Reset” carry with them a similar sense of possibility, shedding light on the laws that have traditionally governed the gallery and the ways that, once the reset button has been pressed, both the artist’s and the gallery’s relationship to these laws are subject to change.

Kai Matsumiya gives special thanks to Keenan Jay, Eva Silverman, Drew Healy, Liz Koury, and all of the artists in the show (Joan Jonas, Craig Kalpakjian, Andrew Ross, Victoria Haynes, Micaela Carolan, Joseph Kosuth (fake), Carol Szymanski, Ben Morgan Cleveland, Steffani Jemison, Rainer Ganahl, Ala Dehghan, Jason Hirata, Ficus Interfaith, Amy O’Neil, Elliott Jamal Robbins, Cassidy Toner, Maggie Lee, Raque Ford, Peter Fend, Jason Matthew Lee, Pedro Wirz, Greg Fadell).


Water Filter, 2017


Frame House Whereabouts

Ficus Interfaith
Frame House Whereabouts

September 14 – October 21, 2018

Interstate Projects
Opening Reception September 14, 6-9pm



The word ‘building’ is both a noun and a verb: the structure itself and the act of making it. As a noun, a building is shelter that has a roof, walls and stands more or less permanently in one place.

Ancient households layered sand to cover compacted earth; creating a warm, soft covering that could be replaced regularly. In some dwellings, seed shells such as peanut and sunflower were scattered across the floor. As it was walked on, the oil from the shells would coat the occupants’ feet and become spread out across the ground, hardening its surface while making it more compact, stable, and free of dust.

Archaeologists use the term, terrazzo, to describe some of the floors created over 10,000 years ago in Neolithic settlements across Western Asia. Excavation notes illustrate beautiful, dusty pads of mottled stone chips pressed and polished into patterns in the ground. This practice continued through antiquity as marble artisans fashioned the floors of their own homes with the leftover marble tile scraps from the days’ work. Today, many of the aggregates used in terrazzo are pulled from the industrial waste-stream, continuing its history of reuse in construction.

For this exhibition, Ficus Interfaith presents a series of terrazzo frames. These frames, along with an additional suite of sculptures, describe navigating a house. The works occupy two floors, vibrating between the distinctions of display room and domestic space. Windows and doors operate as metaphors for other worlds, portals with the potential to activate your imagination. Embracing the spirit of collaboration and highlighting the pragmatism of reuse, the sculptures invite all to ‘play house’. The gallery acts as a skeleton with borrowed flesh, the unlived foundation of a more complete and separately constructed space.

Ficus Interfaith
 (is a collaboration between Ryan Bush (b. 1990, Denver CO) and Raphael Cohen (b. 1989, New York, NY). As much a research initiative as a sculptural practice, Ficus Interfaith pursues projects that focus on their personal and collective interactions with nature and natural history. Their work has been exhibited at Prairie (Chicago, IL), Alyssa Davis (NYC), MX Gallery (NYC) and Gern en Regalia (NYC) and they were artists in residence this year at 2727 California Street (Berkeley, CA) and Shandaken: Storm King (NY).


Clay Club

Projects by artists Alisa Baremboymektor garciaFicus InterfaithSteffani JemisonSara Magenheimer, and Jesse Wine & Cassie Griffin.

Clay Club 2018 Playlists by AHMDLizzi Bougatsos, and Diamond Stingily.

SculptureCenter was founded as Clay Club in 1928 by sculptor Dorothea Denslow. While Clay Club’s art courses and exhibitions generally took place in Denslow’s Brooklyn studio, or, slightly later, in a carriage house on West 8th Street, the organization’s artists and students gathered on Staten Island every summer from 1928 to 1939 to picnic and collectively build temporary monumental sculptures out of natural clay.

On Saturday, August 18, SculptureCenter will revive its founding summer tradition by inviting six artists to reconsider the idea of group sculpture that motivated the original Clay Club parties. SculptureCenter’s Long Island City exhibition space will open to the public with more than two thousand pounds of clay available for participation in artist-led projects or for free use.

Join us on Saturday, August 18 from 10am to 2pm, for music, food and drinks by local vendors including Hibino LIC, Levante, and The Mill, and drop-in art projects. This program is free, open to the public, and for all ages. No RSVP is required.

Dance of the Mudmixers
Compilation of 16mm archival footage of Clay Club’s summer picnic on Staten Island

This is SculptureCenter’s second annual Clay Club program. Last year’s Clay Club artists were Christian Holstad, Joanna Malinowska, Kate Newby, Hayley Silverman and Ser Serpas, Agathe Snow, and Patrice Renee Washington, with music by SHYBOI (KUNQ/DISCWOMAN).




Summer Terrazzos

summer_terrazzossummer_terrazzos_tavasummer_terrazzostavadetailsummer_terrazzos_detailsummer terrazzzo 4clover at nightIMG_9685webIMG_9661webIMG_9643webIMG_9620webIMG_9696webIMG_9709webIMG_9644webIMG_9647webIMG_9612webIMG_9701webIMG_9663webIMG_9616webIMG_9690webIMG_9634webIMG_9618webIMG_9693webIMG_9652webIMG_9640web‘Summer Terrazzos’

Ficus Interfaith

July 14, 2018 – August 26, 2018


Prairie is pleased to announce ‘Summer Terrazzos’ a solo presentation from Ficus Interfaith opening Saturday July 14 from 7-10pm. The exhibition runs from July 14 – August 26, 2018.




While humans are similar to other animals, sharing 98.5 percent of our DNA with chimpanzees for example, our species is undoubtedly different. Over the last few months we have created six terrazzo compositions using various stone, glass and plastic aggregates. As part of an ongoing terrazzo project, these works explore the ways humans have attempted to locate themselves in nature, i.e., a comparison with the things most similar to ourselves.

A key characteristic that appears to set us apart as human is that we can think about alternative futures and make deliberate choices accordingly. When a hurricane is approaching, we use systems of language and technology to warn each other. Special computers measure changes in the wind, sirens sound, and vehicles carry us to safer places. We can imagine what might happen and then act appropriately to ultimately preserve our species. Although the topic is still under debate, other animals are also able to predict an impending hurricane. Research shows that birds can sense environmental changes such as drops in barometric pressure and infrasound waves. In response, as storms approach they will often land to wait for it to pass. Similarly, sharks and large fish will swim out to deeper water and land animals will move to higher ground. How do these creatures know what to do and what actions to take to bolster their chances of survival?

In ways that we do not fully understand, animals are sensitive to the most minute shifts in the environment. They use this vigilance to navigate the world in the same way humans use technology, however because we are unable to imagine the mental levels at which animals operate, we repeatedly deny them the forms of agency we take for granted in ourselves. Birds did not discover flight as humans did; flight discovered birds. In this way, our humanness is blinding and can become very lonely. We feel disconnected from every other animal, and project our emotions and ideas onto them and onto the environment we share. It is comforting to describe a dog “acting joyful” or to witness a chimpanzee “having a tantrum” and Pooh Bear would not look as cute without his red T-shirt. The queen ant and her slaves, the man in the moon, the mouth of a river and the eye of a storm are also examples of the anthropomorphism that tries to shape nature into a reflection of our species.

Recently, humans have gone so far as to name each and every hurricane. For several hundred years after the Europeans arrived many hurricanes in the West Indies were named after the particular saint’s day on which the hurricane occurred. For example, there was “Hurricane Santa Ana” which struck Puerto Rico on July 26, 1825, and “San Felipe ” and “San Felipe II” which hit Puerto Rico on September 13 in both 1876 and 1928. More recently, the United States began using female names for storms, after abandoning a confusing two-year old plan in 1953 to name storms using a phonetic alphabet (Able, Baker, Charlie) when a new international phonetic alphabet was introduced.  The practice of naming hurricanes solely after women came to an end in 1978 when men’s and women’s names were included in the Eastern North Pacific storm lists.

Today, the World Meteorological Organization has a strict procedure for naming these storms. For Atlantic hurricanes, there is a list of male and female names which are used on a six-year rotation. The only time that there is a change is if a storm is so deadly or costly that using the name again would be inappropriate. In the event that more than twenty-one named tropical cyclones occur in a season, any additional storms will take names from the Greek alphabet.

We are unaware of any systems of naming that animals may have for storms. Many animals use complex and varied vocal patterns to describe changes in their environment but are limited with their episodic memory and mental time travel capabilities. However, there is strong evidence that dolphins name themselves with signature whistles and gorillas that have been taught sign language appear to understand names and ask for other animals and keepers by their name. In the attempt to understand animal behavior human-like comparisons can be useful, harmful, or both if the results serve only the interests of humans.

Dutch primatologist and ethologist Frans de Waal argues, “To rail against anthropomorphism for the sake of scientific objectivity often hides a pre-Darwinian mindset, one uncomfortable with the notion of humans as animals. When we are considering species like the apes, which are aptly known as “anthropoids” (humanlike), however, anthropomorphism is in fact a logical choice. Dubbing an ape’s kiss “mouth-to-mouth contact” so as to avoid anthropomorphism deliberately obfuscates the meaning of the behavior. It would be like assigning Earth’s gravity a different name than the moon’s, just because we think Earth is special.” But the Earth is special in that it’s the only planet we know of that holds life – animal and human.  

Western religious ideas describe humans and animals as products of intentional divine creation, with humans uniquely formed in the likeness of their deity and thus enjoying a privileged role in the intended workings of the cosmos — including, for example, access to an afterlife.  A modern biological view of the world, however, supports the idea that our species as we know it emerged a few hundred thousand years ago, and that we are are only one species of animal among many — one leaf of one branch of the phylogenetic tree of life and enjoy no particular special status. If or when we (hopefully!) make contact with extraterrestrial life, how human will we feel? Will we feel more or less connected?


Ficus Interfaith


At the End of the Game You Will Be Forgotten 

Organized by (Amelia Farley and Henry Osman)

Alyssa Davis Gallery

April 19, 2018 – May 20, 2018

André Filipek, Bea Fremderman, Georgia Horgan, Ficus Interfaith, Isabelle Frances McGuire, Adam Shiu-Yang Shaw, Fin Simonetti, Loney Abrams & Johnny Stanish,


Consider a digsite. Digging is always a vertical movement, down into the archaeological matrix. Each layer, defined as a unit of sedimentation greater than one centimeter thick, is separated from previous layers by an event. A fire, a flood. These intervals are discrete changes in the character of the material being deposited.

Esther Leslie argues that excavation is an ‘inverted’ astrology. “Astrologers study the forces and influences of the stars,” she writes, while excavators discover “the manifold properties of earth and stone strata.” Geology is regarded as nature’s writing, a cipher language. “The language of our world is reflected in the underworld, if subject to decoding.” 1

What time is it?

All possible histories are encoded in the strata. A temple column supports a basilica’s nave; broken palaces find their way into household walls. A fine intaglio is encrusted with black accretions and dusted with so many layers of silt and sand that it becomes a pebble. At the digsite, such actors, both artifactual and ecofactual, must be coaxed into speaking.

The thickness of an event, and the earth in which it is held; an open shaft; the patina of an old chair; the carbon cycle. Nothing is new, and nothing is not new.

1. Leslie, Esther. Synthetic Worlds: Nature, Art and the Chemical Industry. London: Reaktion Books/Univ. Chicago Press, 2007. 38-39.


Alyssa-Davis-Paradise-21-1250x938Ficus Interfaith, Redwood at Night (title by Frank Traynor), 2018

Alyssa-Davis-Paradise-22-1250x938 Alyssa-Davis-Paradise-20-1250x938-1 Alyssa-Davis-Paradise-01-1250x938  Alyssa-Davis-Paradise-02-1250x938