“Edges” A Curatorial Project by Hannah Einhorn

|| The center of a composition is oftentimes the visual hook that draws an audience closer to an artwork. The edges go unexamined by onlookers, regardless of how much attention the artist has shown them. When we step into the role of an audience member, we need to examine our intentions. Are we being mindful of the work? Are we being dismissive? Can we identify any holes in our perceptions? || In Edges, the boundaries of the showcased works are just as important as the rest of the composition, demanding dedicated time from the audience. Both conceptually and literally, the artists in this collection explore what it means to push materials in directions that play with the metaphorical line between where a piece ends and the gallery begins. The artists ask the questions: What happens when a creator obscures, emphasizes, or even completely obliterates this demarcation? What happens when the boundary between art and craft is nonexistent? Removing the line between craft and fine art is one of the most culturally relevant ways to address this concept. || The edge between fine art and craft originated within the constructs of patriarchal colonialism, labeling many craft practices as “women’s work.” In Edges, several of the artworks included involve craft practices, yet still live in the world of fine art. || Understanding edges as a demarcation of spatial organization within art is important to understanding how artworks interact within their contexts.

In this collection, the focus on “edge” establishes a dialogue that examines the physical borders of the human figure and art materials, while also examining the conceptual borders of  empathy, ownership, and the gallery as a contemplative space. ||

Featuring:

RayMarah Watson-Cunningham | Bridget Curtis | Zoe Nichols | Savannah Hodges | Zoe Stasia | Rae Young | Karley Davis | Hannah Einhorn