Sweaty Armpits: We All Live in Bodies

Brody Reiman @_brody__r

Cecelia Condit @Cecelia Condit

Since 1981, Condit’s videos have created heroines whose lives swing between beauty and the grotesque, innocence and cruelty, youth and fragility. Her work puts a subversive spin on the traditional mythology of women in film and the psychology of sexuality and violence. Exploring the dark side of female subjectivity, her “feminist fairy tales” focus on friendships, age, and the natural world. She has shown internationally in festivals, museums and alternative spaces, and is represented in collections including the Museum of Modern Art in NYC, the Walker Art Center in Minneapolis, Minnesota and Centre Georges Pompidou Musee National d'Art Moderne, Paris, France. She has received numerous film festival awards, and grants from the Guggenheim Foundation, American Film Institute, National Endowment for the Arts, and the Mary L. Nohl Foundation. She’s a professor emerita in the Department of Film, Video, Animation & New Genres at the University of Wisconsin-Milwaukee, where she was the director of the graduate program in film for 30-years.

Statement: I consider myself a storyteller working within the psychological landscape of contemporary fairy tales, dreams and poetry. I explore archetypal themes where my characters are often shaped by violence, basic cold-heartedness and trauma. The last few years, I find myself leaning towards creating works that consider the frailty of an environmentally vulnerable world and our place in it. This world might be in a small county park, a backyard, a shopping mall or a snow-covered rock.

Chris Thorson @turnalittletowardsme

Chris Thorson’s work has been presented in solo and two person exhibitions at Quint Gallery in San Diego, CA; Rena Bransten Gallery in San Francisco, CA; Mama’s in Vallejo, CA; and the Des Lee Gallery at Washington University in St. Louis, among others. Group exhibitions include Personal Space, Vallejo,CA, Paul Thiebaud Gallery, San Francisco, CA; Subsidiary Projects, London, UK; The Hessel Museum at Bard College; and Headlands Center for the Arts, Sausalito, CA. Her work has been featured in The San Francisco Chronicle, The Riverfront Times, KQED, and New American Paintings. She received a BFA from Washington University in St. Louis and an MFA from the San Francisco Art Institute. She lives and works in Vallejo, CA.

Statement: My sculptures make space to question the conditions of contemporary life and culture while testing the boundaries between what we overlook and what we esteem. Using a range of materials and methods, I remake and represent everyday objects to explore themes including consumption, illusion, and vulnerability.

Daniel Arthur Mendoza @daniel_arthur_mendoza

Daniel Arthur Mendoza (b. 1989, Sacramento, California) received his MFA from UC Riverside in 2022. In 2013 he received a BA in Studio Art at UC Davis, and attended the Chautauqua Institution Schools of the Fine and Performing Arts in Chautauqua, New York. His work has been exhibited at The Mistake Room (Los Angeles, CA), Human Resources Los Angeles (Los Angeles, CA), Southern Exposure (San Francisco, CA), Rivalry Projects (Buffalo, NY), Guerrero Gallery (San Francisco, CA), and Incline Gallery (San Francisco, CA) among others. He is currently living and working in San Francisco, California.

Statement: Daniel Arthur Mendoza is an artist whose work made from cut and sewn secondhand fabrics and drawings celebrate queer history, joy, friendship and its historical veiled-ness within the confines of daily life. Exploring themes of intimacy, repression, and refusal, Mendoza's work reveals a longing to rediscover the past, confront the weight of patriarchal visual propaganda, and open oneself to potential, soft, and hopeful futures.

Elina Frumerman @elina.frumerman

Elina Frumerman is a multi-disciplinary artist based in the San Francisco Bay Area. Born in the Soviet Union, her work is influenced by her experience as a refugee immigrating to the United States. Frumerman's interdisciplinary practice encompasses photography, painting, printmaking, book design, and installation. Through these mediums, she explores how we construct realities and interpret the narratives that surround us. Currently a 2025 MFA candidate at Stanford University, Frumerman previously studied design at California College of the Arts. Her work "Stateless" is currently on display at the Contemporary Jewish Museum. She has also exhibited at the Berkeley Art Center, Coulter Gallery, and The Jones Institute.

Emily Harter @witchnipple

Emily Harter is an interdisciplinary artist who makes paintings, drawings, prints, and ceramics. Influenced by convergent backgrounds in painting, printmaking and art history, her work depicts worlds populated by hedonistic shape-shifters and ruled by cartoon logic. Drawing from, and at times directly quoting, a wide array of references, including antique-mall kitsch, Flemish tapestries, the satirical prints of Hogarth and Daumier, and Golden Age animation, she aims to interrogate identity, obligation, and that ol’ horizon of desire. Harter’s work has been shown throughout the United States, including exhibitions at Ochi Gallery and Hashimoto Contemporary in Los Angeles, CA, Cleaner Gallery in Chicago, IL, and Bread and Salt in San Diego, CA, and is in private collections nationally and internationally. She has published etchings with Hoofprint Studios in Chicago, IL and Bohemian Press at the University of Minnesota in Minneapolis, MN. She was the recipient of the 2020 MAPC Travel Grant and has been a resident artist at Lighthouse Works in Fisher’s Island, NY, Arts, Letters, and Numbers in Averill Park, NY, and After 1920 in San Diego, CA. She is a co-founder of Pigeon Hole Press in Chicago, IL, which produces and publishes fine art intaglio prints. Harter is currently pursuing an MFA in Art Practice at Stanford University.

Statement: In my work I figure an experience of queerness marked by hopes, failures, and perversities. My approach to technique, subject matter, and composition is informed by material which spans from popular to highbrow, including Netherlandish genre painting, late medieval tapestries, the satirical prints of Hogarth, Daumier, and Rowlandson, 20th century animation, and thrift store kitsch. Often what interests me is the same sense of failure, absurdity, and irreverence that I aspire to in my own work– the person shitting in the background of Brueghel’s religious scenes, the wanton women and lecherous old men in Rowlandson’s prints, the surreal gags in the Merrie Melodies shorts. These sources also inform the sensibility of the humor in my work which is physical in both a slapstick and a sexual manner. In the citation and combination of multiple references in a single image, I complicate the distinctions between them in terms of cultural value, time, and place, while also creating a distinct visual language based in my own subjectivity. I’m drawn to use traditional materials because they lend a gravity to emotions and experiences which are typically not subject to reverence and attention. The charge of the image occurs between the expectations associated with historical affect and the subject matter’s attention to humor and folly.

Hedwig Brouckaert @hedwig_brouckaert

Hedwig Brouckaert is a Belgian-American artist living and working in Long Island City (NY) and Ghent, Belgium. Her work has appeared in exhibitions throughout the US and internationally, including ‘Re/pro/ducing Complexity’ curated by Peter Lodermeyer with work by Jorinde Voigt and Nelleke Beltjens at the Museum Dhondt-Dhaenens (BE) and the Städtische Galerie Villa Zanders (DE); exhibitions at the Bangkok Art and Culture Center (TH), VOLTA NY with Jan Dhaese Gallery, Pen+Brush (NY), Transmitter (NY), Kentler International Drawing Space (NY), Murray State University (KY), McGlothlin Center for the Arts at Emory & Henry College (VA), University of Ghent (BE), Pallazo Vendramin Costa (Venice IT), and Project:ARTspace (NY) . Brouckaert has received grants from the Flemish Government in Belgium, from Café Royal Cultural Foundation; and fellowships including AIM of the Bronx Museum, LMCC Governors Island Art Center Residency, NYFA Immigrant Artist Mentoring Program, Rockefeller Foundation – Bellagio (IT), Liguria Study Center Bogliasco (IT), Cité Internationale des Arts Paris, Hafnarborg Museum of Iceland, Yaddo (NY), Anderson Ranch (CO), Virginia Center for the Creative Arts, and FLACC (BE). Brouckaert’s work has been discussed in the Brooklyn Rail, the New York Times, Blackbook, ArtSpiel, Uncovered, Ante, the ArtCouch, and KunstHart (BE). She received an MFA from the University of California, Davis after completing a Masters in sculpture at the Sint-Lukas Hogeschool in Brussels, and a Postgraduate at the Higher Institute for Fine Arts in Belgium.

Statement: As a teenager, I fantasized about hijacking commercial billboards - erasing their distorted messages of desire and identity - by painting them over. As an artist, advertising and mass media imagery in the form of magazines have been a primary material in my drawings, sculpture and installation projects. Out of what was commercial, ubiquitous photo-based material, I create highly tactile abstract works. I play with the tension between the functional, representational starting point and the illegible, raw result of my extensive physical process. ‘Peel’ is a series of layered-paper collage on commercial ceramic tiles. I cut out imagery of models' skin from mainstream magazines and layer it over and over with glue and acrylic paint to create a bas relief. I then sand, cut, and carve with sharp tools to reveal the deeper layers beneath, uncovering strange patterns by breaking open the surface. When I moved to New York City, I fell in love with the multicultural aspect of this city. Commuting by subway, I grew to love the complex images that are created by filth and grime on the old tiled walls. Those tiled walls are omnipresent as the architectural skin of public corridors and subway tunnels. With the title ‘Peel’ I reflect on the process of peeling away the surface in order to re-examine our belief systems and habits as a society, and as an individual to peel away the constructed ego and the culturally conditioned mind, to arrive at a more embodied truth.

Kyle Austin Dunn @kkyleddunn

Kyle Austin Dunn (born 1987 in Daytona Beach, FL) is a visual artist based in Oakland, California. His work has been exhibited at Galleria Nicola Pedana in Caserta, Italy, Galerie Robertson Arès in Montreal, Canada, First Amendment Gallery in San Francisco, CA, Hap Gallery in Portland, OR, and the Headlands Center for the Arts among others in the US and abroad. He has attended residencies at the Headlands Center for the Arts in Sausalito, CA and the Atlantic Center for the Arts in New Smyrna Beach, FL. His work has been in featured in New American Paintings, Pacific Coast Issue #145 and online with Booooom (Artist Spotlight: 07/25/2022). Kyle has an MFA in Studio Art from the University of California at Davis and a BFA in Drawing from the University of Florida. He is creatively inspired by the enigmatic influences that guide our conditioning.

Statement: Kyle Austin Dunn probes at ideas of consciousness and identity- how these variables are influenced, distorted, and conflated by immaterial fabrications and impressions. His viewpoint is that common cognitive biases are overlooked and underestimated subjects for consideration- institutions of thought which determine so much of our shared reality but are examined far too inadequately. Using optically activating patterns, his paintings suggest that the psychology of perception has clues for exploring and challenging preconceptions. The resulting work often teeters compulsively under a dubious rubric, suspending judgement while agitating for an emotive response, one that can flex and warp in an instant.

Lemia Monét Bodden @quelquefoisphoto

Lemia Monét Bodden hails from the San Francisco Bay Area. She received her BFA, with honors, from New York University in Film Production. A photographer since she was 12 years old, Lemia has had her work in over 50 exhibitions, including The United Nations, Momenta Art, New York Photo Festival, DUMBO Arts Festival, MPLS Photo Center, Freies Museum Berlin, Vox Populi, Root Division, ACUD MACHT NEU Galerie, ARLES 2018, Ypsilon Art Center Thessaloniki, CICA Museum South Korea, Altonaer Museum Hamburg, and Ferencvarosi Gallery in Budapest, Hungary. She is currently a UP NEXT Member within Diversify Photo. She was nominated for the Black Space Residency at Minnesota Street Project in March and April 2024.

Statement: Skittles. Pill bottle. boiling pot of water. loose cigarettes. ice cream pint. fake 20 dollar bill. These are the items that African Americans have lost their lives over. The shelf holds each item up as a display, so the audience can formulate what is the thread that connects these random items. This touches on the frivolity that leads to the severity of death, and how easy it can be to die at the hands of white supremacy through normal, casual every day items that are perceived as violent when in reality it is the violence of racism that is the true problem.

Marta Thoma Hall @martathomahallart

Marta Thoma Hall is an American painter and sculptor based in the San Francisco Bay Area and Kauai, HI. As an artist she is known for her unique juxtaposition of imagery with a surreal bent. She has permanent public art installations of steel, glass, and cast bronze in Goodyear, AZ, Walnut Creek, Palo Alto, South San Francisco, San Jose, St. Petersburg Florida, and sculpture in the collection of The Art and Design Museum of Costa Rica. Thoma Hall studied fine arts at UC Berkeley and San Francisco State University. In 2022 she founded Hall Art + Technology Foundation (HATF), an educational arts foundation focused on the intersection of art and science in the modern world.

Statement: In exploring a world of what is primarily mysterious and unseen, surrealist imagery exists to render dreams, visions, and imaginings of the past, present, and future. Ghosts, the wind, water, polarities, sexuality, caretaking, absurdities, and time are my subjects. My body is a vessel, my moments spent watching, listening, moving, holding, loving, grieving, learning. Always, time is sprinting as I try to hold on to a moment to share.

Melissa Pokorny @melpok62

Melissa Pokorny is a sculptor living in Urbana, IL. She has exhibited her sculpture and installations in venues across the United States. Solo exhibitions include Gallery Paule Anglim, San Francisco; Platform Gallery, Seattle; Devening Projects and editions, Chicago; Front Room Gallery, NYC; SHED Projects, New Orleans and Cleveland, DEMO Projects, Springfield, IL; and the Peeler Art Center at DePauw University, New Castle Indiana. Selected group shows include NONSTNDRD in Sauget IL; John Michael Kohler Art Center, Sheboygan; Gallery 400, Chicago; Heaven Gallery, Chicago; Slow Gallery, Chicago; Violet Poe Projects, Normal; Galleries at Illinois State University, Normal; Usable Space, Milwaukee; New Langton Arts, San Francisco; and Yerba Buena Gardens, San Francisco. Her work is held in collections by the Orange County Museum of Art; the Berkeley Art Museum and Pacific Film Archive; The Richard L. Nelson Museum at UC Davis; San Francisco Museum of Modern Art; and The Krannert Art Museum at the University of Illinois. Pokorny received her MFA from UC Davis in 1988. She’s a Professor in the School of Art & Design at the University of Illinois, Urbana Champaign, where she also serves as Executive Associate Director of the School.

Statement: The work included in Sweaty Armpits was made during the height of COVID closures. I wanted to revisit an earlier work of mine, Unmoored and Adrift, from 2011. That piece was about the destabilizing effect that being underground has on the human body. Multiple images of cave features and spotlights made to look like “natural” cave formations were attached to tilted surfaces, creating a raft-like surface that conveyed the anxiety felt in unknown environments—particularly as we encounter unpeopled or “wild” places. In the midst of the COVID lockdown, feeling completely unmoored and riddled with the anxiety of the moment, like many people, I turned to the outdoors as a place of safety and respite. Ironically, the desire for escape overcame the concomitant fear of the unfamiliar, especially as it attaches to female bodies made vulnerable through solitary walks and forest exploration. The respite from one fear or state of anxiety demanded the confrontation of another. Cultural and natural histories connected to landscapes are typically unseen, forgotten, or overlooked-- often rendered invisible through time, scale, willful erasure, or simply by becoming a too-familiar part of the background. The work in this show considers the ways that place, location, memory, history, and the environment are in constant flux, congealing through time and events into new configurations, relationships, and states of being. Residues of the deep past and human-initiated tragedies cling to the present, haunting and troubling our relationships to places, things, and landscapes.

Natasha Loewy @natashaloewy

Natasha Loewy (she/her) lives in Oakland, California. She received a BFA from the San Francisco Art Institute, a teaching credential in art from Mills College, and an MFA from San Francisco State University. She is a recipient of the Cadogan Contemporary Art Award and has exhibited at galleries such as SOMArts, the Marin County Civic Center, SOIL, LAST Projects, The Great Highway, Southern Exposure, Root Division, and Hit SF. She is currently a Curatorial Intern at 500 Capp Street and is one of three members of MUZ, a Bay Area based art collective focused on a collaborative studio and curatorial practice.

Statement: My work draws from personal accounts of family joy and trauma as well as from our shared socio-political climate. Through sculpture, drawing, performance, and video, I create works that use tension, anticipation, and fragility to explore the relationships between humor and healing. Using time as an essential material, components of my artworks often change form to fracture, fade, or otherwise shift in color, shape, or sound. These relationships evoke physical and emotional responses, which point to connections between our psychological conditions, material realities, and embodied experiences.

Richard Haley @richardmichaelhaley

Richard Haley is an artist, art writer, and curator living in Montara, CA. My work is tied to concepts defining self and being; or more specifically, what does one do when they are not sleeping or practicing breathing. My practice takes the form of sculpture, video, animation, interactivity and photography. It takes elusive ideas, bordering on the metaphysical and transcendental and pushes and perverts them into corporeal terms

Shantre Pinkney @https://www.instagram.com/shantreverite/

Shantre Pinkney is a filmmaker, writer, and photographer with roots in New York and Atlanta. A lover of non-traditional and inquisitive storytelling, she aims to spark dialogue between art and its audience. Her work explores social relationships and the coming-of-age experiences of characters, blending narrative, portrait, and documentary styles. She was awarded the Zellerbach Grant and selected as an Arts Fellow with Asian Improv Arts and a Media Fellow by Kala Arts Institute. Raw, Black & Blue is her debut photo-fiction book.

Statement: Artist Statement: Shantré Pinkney (filmmaker, writer, photographer) Raw, Black & Blue is a photo-fiction love story told through the lens and journal entries of Tamia, a photographer who navigates her relationships and mental health after returning to her childhood home. My story first began as a short film, The Raw, which follows Keith, a newly hired employee in a social services program who provides mediation and mental health services. My intention was to write from his point of view. Naturally, I was curious—two friends of mine, H.Z. and Jay, had joined a community response team, a non-profit organization funded by the city of San Francisco. They shared countless stories with me, many about families torn apart by gang-related deaths and mental illness. Jay was sent to prevent further retaliation between gang members and offer counseling. He initially wanted to be a sheriff, which I struggled to understand at the time. I decided to develop a new main character, Tamia, our narrator and the eyes behind the camera. She is a character who portrays a sense of longing and hope for the people in a predominantly Black community, yet she struggles to accept that hope of belonging for herself. Her connection with Keith highlights both her capacity for love and her fear of vulnerability. Throughout the story, Tamia's journey is one of self-discovery and growth as she learns to embrace her past and open herself to the possibilities of the future. My goal with Raw, Black and Blue is multifaceted: an interdisciplinary project aimed at raising discussions on relationships and mental health through film, literature, audio storytelling, and photo exhibitions.

Sheng Lor @https://www.instagram.com/sheng_weaves

Sheng Lor was born in a Thai refugee camp and currently lives and works in Los Angeles, CA. She earned her BA from University of California, Davis, and is expected to receive her MFA from University of California, Los Angeles, in Spring 2025. She was a recipient of the inaugural Sankofa Fund for Cultural Preservation Grant in 2021, Surface Design Association Personal Development Grant, and UCLA Graduate Opportunity Fellowship. Lor has exhibited her work widely across California, including at the San Jose Museum of Quilts and Textiles, de Young Museum, SOMArts, and Good Mother Gallery.

Statement: Sheng Lor is an artist working in sculpture, drawing and painting. Born as a refugee, her work explores fugitive memory as sites of knowledge. Sheng was raised in California among three generations of Hmong women textile makers, and her practice is a continuation of that legacy which centers on cloth and cloth-making. Often using fiber as ground, dye as paint, and needle as brush, Sheng aims to reimagine cloth as a medium for discourse, giving context as well as visibility to complex narratives among Hmong and Southeast Asian diasporic people.

Shiva Ahmadi @shivaahmadi_studio

Shiva Ahmadi’s work address global issues such as political oppression, violence, immigration, and women's rights, drawing inspiration from current events and personal experiences. Her work, spanning painting, sculpture, and animation, blends formal beauty with an underlying sense of violence. Ahmadi has exhibited her work both nationally and internationally at institutions such as the Asian Art Museum in San Francisco, the Jan Shrem and Maria Manetti Shrem Museum of Art in California, the Asia Society Museum in New York, the Victoria and Albert Museum in London, the Royal Ontario Museum in Canada, the Mori Art Museum in Japan, and the Arab Museum of Modern Art in Doha, Qatar. Her work is included in the collections of the Metropolitan Museum of Art in New York, the Museum of Contemporary Art in Los Angeles, the Asian Art Museum in San Francisco, the Asia Society Museum in New York, the Grey Art Gallery at New York University, the Dallas Museum of Art, the Pennsylvania Academy of Fine Arts in Philadelphia, the Detroit Institute of Arts, and the DePaul Art Museum in Chicago, among others.

Tim Armstrong @none

Traveling to San Francisco for art school thirty years ago, I found a small basement room in North Beach where I've lived alone, drawing on a cement floor under a cafe. I make my living as a hotel handyman.

Statement: I am out at dawn drawing tree memorials in treeless places when conditions are quiet, dry and windless. My trees are drawn in spilled flour, sprayed with water then swept back up leaving the residue to be eaten by pigeons. Unsanctioned and ephemeral, these drawings appear in industrial zones and only in the morning when the wind is low can it be attempted. I do this alone.

Tricia Rainwater @https://www.instagram.com/triciarainwaterart/

Tricia Rainwater is a Choctaw multimedia artist based in the Bay Area, with roots in the Central Valley and New Mexico. Her artistic portfolio, which includes self-portraiture, sculpture, large-scale murals, and installations, has been featured at the Berkeley Center for the Arts, ICA San Francisco, MOCA Toronto, and with Muz Collective, among others. In 2022, she received a grant from the SF Arts Commission to trace the Choctaw Trail of Tears. Rooted in themes of identity and grief, her work offers a perspective through the lens of a Choctaw survivor. Through her art, Tricia confronts and resists loss by revisiting sites of pain, creating spaces for personal and collective healing.

Statement: In 2020, at the height of the COVID-19 pandemic, I began photographing myself in San Francisco's Golden Gate Park. "Ishki (Her Mother)" is one of the earliest images in this series, capturing my need to find solace in nature amidst the chaos of a global crisis. Through this and other works in the series, I delve into the sense of grief that arises when life moves around you, yet nothing seems to anchor you to the present moment. My photographic work explores themes of grief, loss, and violence. The colonial history of the United States has fractured my own familial relationships, creating distance within my family. A poem I wrote years ago reflects this, describing how my family and I "lost each other on purpose." In "The Long Goodbye," I sit on the bed my partner and I once shared, marking the end of our 11-year relationship and marriage. The photograph shows their moving boxes neatly stacked against the wall as they prepare to leave the home we built together. My expression is pained, clothes are scattered around the room, and "Ishki (Her Mother)" hangs framed above my head.

Vincent Pacheco @pacheco_vinny

Vincent Pacheco is a mixed media artist, graphic designer, and educator living and working in Nevada City, CA. After more than a decade creating advertising campaigns for Fortune 500 companies, Pacheco threw in the towel, bought a cabin in the woods, and began dedicating his life to inner development over monetary concerns. Pacheco has exhibited work at MASS MoCA in North Adams Massachusetts, the Museum of Contemporary Art in Barcelona, and the Manetti Shrem Museum of Art in Davis, CA. He holds an MFA in Art Studio from the University of California, Davis, and currently serves as Professor of Applied Arts at Sierra College in Rocklin, CA.

Statement: I work with a desire to form a connection with an underrepresetned culture, a fading family lineage, and my own emerging identity. I am a 3rd generation Mexican-American from the Mission District of San Francisco, and my work combats my family's ongoing assimilation into white society. The process begins with reclaiming-- listening and documenting my family's oral history and using our shared narrative as source material for the work. Embedded with memory, a personal lexicon emerges through the creation of sculptural monuments. New understanding is subsequently folded back into the work. The work is a generative process that confronts a muddled sense of self amidst an ongoing threat of ancestral erasure.

Helia Pouyanfar @heliapouyanfar

Born in 1995 in Tehran, Iran, Helia Pouyanfar immigrated to California in 2014. Inspired by her cultural background and in an examination of passage and the relationship between liminal spaces and transit, her research endeavors to illustrate and investigate the permanently transient state of the refugee body and its negotiation and reconciliation with Place. Pouyanfar has been the recipient of the Lauren Krikorian Memorial Prize and Certificate of Excellence in Sculpture from UC Berkeley, Mary Lou Osborn Award and the 2021 Margrit Mondavi Graduate Fellowship from UC Davis, 2024 Berkeley Civic Arts Individual Artist Grant, and 2024 Kala Art Institute Fellowship. Her work has been exhibited at the Manetti Shrem Museum of Art, de Young Museum, Skirball Cultural Center, Miami University, Root Division, Southern Exposure, Berkeley Art Center, SF Camerawork, Foyer-LA, Personal Space, and Kala Art Gallery. She currently resides and maintains an art studio practice in the Bay Area.

Statement: My conceptual art practice investigates the permanently transient state of the refugee body and its negotiation and reconciliation with Place. Informed by my personal experience of living as a refugee for three years, my research explores the intricate relationship between the body and Place by humanizing and narrating the deeply poetic and peculiar experience of forced exile. The act of mirroring is a vital component of my work. In its metaphorical sense, I am interested in pushing architecture into movement. This ironic redefining of Place and its transformation from a physical structure to a metaphoric concept mirrors the intricate reality of the exiled. I see architecture as the poetry of the nomad and seek to translate this poetry by turning consistent into transient, and immovable into transferable while honoring its nonlinear reality. Time and movement are intertwined, and one defines the other. Leaving becomes a circuitous act: for the nomad, to end is to continuously begin.

Lucy Puls @lucy_puls