So Thank Every One and Let's Begin Faintly (Objects Lie on a Table, 105)
Furthermore, Borsato’s Arrangements later make other arrangements: Terrarea are welcome to intervene or take apart her arrangements and incorporate Borsato’s component parts into their own, always-shifting “still lives” that move about the gallery space. Objects also have agency. Made in the exhibition, Liddington’s new sculptural work, Weighted dancers under spotlight (I realized the most sincere means of capturing their movement was to allow the clay to bend as it had wanted to, then and always), 2016 undergoes a series of changes through the ongoing drying of the clay, which continually alters its form over time. Already arranged compositions also leave the gallery space to occupy other positions in the “house,” as in DeFreitas’ “migratory Mary’s,” (if you look closely she moves), 2016, found, at times, in the Hart House Chapel, or just outside the gallery doors, en route.
GO BACK TO In doing this thing I hope to find out this question