Ashley Addair

SAIC SHOWS 2023 GRADUATE EXHIBITIONS

Graduates

SAIC SHOWS 2023 GRADUATE EXHIBITIONS

Low-Residency Master of Fine Arts Degree

Ashley Addair is a transdisciplinary artist working with/in/as her environment to produce both material and immaterial iterations of life ongoing. That is to say she makes things and not-things as an inquiry into thingness and as a prayer for collective awareness of our unity/nonduality. Her practice includes constructing textiles, shelter building, community gathering, animation, and performance as participation in making home and letting home make us. She is interested in absurd gestures of love, cosmic humor, and paradoxical play as pathways for generative healing and making visible/felt our connective tissue(s) in the late Capitalocene.

Ashley Addair - amorous wrestling match with painting

amorous wrestling match with painting, 2022, Painting on cradled panel, construction tape, and found sticks, 64 x 30 x 30 In.

A work contending with the impulse for painting as it contends with the body and her needs.

Ashley Addair - amorous wrestling match with painting (panel view)

amorous wrestling match with painting (panel view), 2022, Latex and pencil on panel, 60 x 30 In.

Made by way of a series of large movement gestures arranged as a dance.

castor + pollux no. 12, 2022, Prints on vellum, 12 x 16 In.

Two sheets from a series of forty-eight in which drawings and parts of paintings are layered to form shifting constellations.

weave/roof, 2021, Roof repair material, oil paint, and thread on canvas, 8 x 6 In.

A material poem about painting (culture production) as a gesture of building.

pelt no. 8, 2022, Tufted string and yarn, 48 x 30 In.

Constructed textile as a symbolic congregation of matter (animal, plant, and human manufactured). The work is a contemplation on death/life/death cycles and is made to be worn or used in acts of homemaking.

polytitled no. 1, 2023, Animation, 8 seconds

A work that is (un)building, nourishment that multiplies, and a gesture of love for myself (which is no self).

homemaking, 2023, Animation, 20 seconds

It might could have been that 3.4 billion years ago the bacteriochlorophylls thought visible light was trash before cyanobacteria found a way to eat it. One bacteria’s trash is another’s photosynthesis and thats the way the world got oxidized.

chaps originated in Spain, 2023, Video, 4:14 minutes

A story about myself (as matter and our memory) in the form of a poem.

The thesis work is an offering in the form of an amorous wrestling match with the is-ness of human experience and our potential for a new relationship to existence. In a time of converging environmental, economic, and social crises I constructed a shelter on the fringe of my own domesticity (in the backyard) as a practice of homemaking. Homemaking to query distinctions between subject and object, between oneself and the world. Homemaking for myself, which in turn is no self. Homemaking as letting home make us, as a non-solution of re-membering humans to non-human nature. Homemaking as an embodied practice of seeding what might be, but not yet. Homemaking as salvaging what we might carry forward, of mourning what is lost, of admitting things that were never as good as we told ourselves, of weaving in the dropped threads of knowing which have been marginalized. In this way we participate in the labor of becoming-with.

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