Installation view of Residual Dwelling at Wavelength Space, Chattanooga. All images courtesy of the artists and Wavelength Space.
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Raquel Mullins, Passage through the SacredWindow (studio view during the full corn moon), 2021; chalk paint, conte, acrylic on cotton, 22 X 28 inches.
Rachael Zur, Lyre, 2019; painting plaster, corrugated plastic, acrylic, spray paint, resin, mica pigment, 17 x 20 x ½ inches.
905 Second Street
in the shed, crooked nails left to be hammered out tell me of that person’s life during the Great Depression
I found a wooden block in there with “be my valentine” carved on it I kept it, because its clumsiness felt familiar
under the house my husband found a gas pipe plugged with a wine cork I guess this is how people solve problems
when I painted over the wallpaper in the bedroom I could see that there was a second layer of wallpaper beneath it
our relationship with homes is symbiotic the building shelters our bodies, and we slow the house’s demise which comes long after us
from the accompanying exhibition text by Rachael Zur
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Victoria Sauer, NightscapeI, 2018; oil on panel, 20 x 25 inches.
Installation view of Residual Dwelling at Wavelength Space, Chattanooga.
Raquel Mullins, top left: Home, top right: Basement of the White Mansion, bottom left: Ivy’s House, bottom right: trailer with two eighteen year olds; mixed media on paper, 9.5 x 12 inches each.
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Laura Drey, Yielding Identity, 2019; hand-woven cotton, acrylic, and polypropylene bag with printed label, 26 x 20 inches.
Victoria Sauer, Night House, 2020; oil on canvas, 35 x 50 inxhes.
Rachael Zur, Untitled (Living Room Circa 1970), 2019; painting plaster, corrugated plastic, acrylic, spray paint, fabric, 32 ½ x 29 x ¼ inches.
Residual Dwelling is on view at Wavelength Space in Chattanooga through May 14, 2021.
Pieced together through collage, video capture, and a spoken poem, artist Kay-Ann Henry presents the intricacies of Afro-religious practices and Jamaica's particular expression of obeah, pocomania, and kumina.
Virginia Walcott reviews the Southern traditions, stereotypes, and romanticism found in the assemblages of Cora Nimtz: Unlikely Hunter at The Aquarium Gallery and Studio, New Orleans.
