With a title inspired by Audre Lorde’s striking poem Making Love to Concrete, this exhibition positioned three artists’ time-based works within an intimate space to explore the architecture of memory, oppression, and forgiveness. Catalina Ouyang’s poetic meditations on structure are carved and constructed from stone and bone, but they also contain more fragile organic elements that slowly decomposed over the course of the exhibition. Bret Schneider’s tactile sonic work refers to its own schematic imagery: the artist digitally runs saw waves through comb filters to create a pulsing aural illusion of synthetic verisimilitude. A site-responsive sculpture informed Marie Bannerot McInerney’s performative drawing gesture, which took place during the opening reception and acted to preserve the evidence of time passing. As an extension of the exhibition, these three artists collaborated on a gif that will resided in the advertising space of Temporary Art Review throughout the month of August. This exhibition was voted “Favorite Exhibition” in Nashville by Burnaway for 2017 was featured in this interview on Locate Arts discussing art, the sun’s eclipse, and other phenomena.
