INTERNATIONAL WATERS

Marie Lorenz & Jeff Williams
Roll, Pitch, and Yaw
9.19.2026 - 11.1.2026

A Utopia minus a bottom, a place where the machines are idle, and the sun has turned to glass, and a place where the Passaic Concrete Plant (253 River Drive) does a good business in STONE, BITUMINOUS, SAND, and CEMENT.¹

Robert Smithson, A Tour of the Monuments of Passaic, New Jersey, 1967

The landscape can no longer be encountered as something outside of human production. In the exhibition Roll, Pitch, and Yaw at International Waters, Marie Lorenz and Jeff Williams approach the landscape through the objects and materials that accumulate within it.

“Actually, the landscape was no landscape, ‘but a particular kind of heliotypy,’ a kind of self-destroying postcard world of failed immortality and oppressive grandeur.”²The image of a landscape as an autonomous natural world was always an illusion. The ground is composed of strata formed through the accumulation of natural and synthetic material. The contemporary subject goes into nature and finds a material culture already there.

Traveling New York City’s waterways in a small wooden rowboat, Marie Lorenz has established a practice of voyaging along the city’s less-traveled industrial channels, each time with another artist. The trips are a kind of dérive, with pathways shaped by her passenger that allow for aesthetic and social discovery guided by the qualities of the environment. Lorenz describes each journey as a form of gift-exchange. By entering into the psychogeographical potlatch, the artist and passenger are set adrift with the same tides and currents as the surrounding flotsam, establishing a shared condition between participant and object.

Carried by tides, deposited along shorelines, or caught within the city’s maritime infrastructure, the objects encountered along these journeys become temporary markers of the routes through which they pass. Lorenz collects these objects, removing them from one trajectory and setting them along another. In the studio, the collected forms are sometimes recast and at other times incorporated directly into pendulums constructed by the artist. Lorenz welds steel axes and fulcrums around the objects, creating new relationships of weight and counterweight that translate their irregular movement through the waterways into a newly determined motion. At International Waters, the pendulums are set against the oblique incline of the gallery, where this motion encounters another set of physical conditions.

A series of drawings by Jeff Williams depict landscapes covered in garbage. Emulating the graphic language of Disney animation, Williams renders the refuse through dense, economical linework without depicting individual objects with any kind of specificity. Debris proliferates across entire landscapes, dissolving into chaotic concentrations of lines. More precise than the gestural marks of AbEx painting, the drawings nevertheless share their maximal accumulation of marks. The suggestion of a cityscape in the background situates these fields of debris within the architectural developments that produce them. Buildings rise behind the material remains of construction and demolition, joining architecture to its resulting waste stream. What initially appears as refuse becomes pattern and what appears as pattern resolves again into refuse.

Williams’s sculptural practice similarly transforms found industrial forms through accumulation, producing stalactite-like structures in which individual components become part of a larger material formation. The drawings expand this process from the scale of an individual formation to that of entire landscapes. Construction acts upon the landscape through both the structures it erects and the material it leaves behind. Accumulation becomes the process through which the landscape takes form, until the distinction between terrain and debris becomes impossible to locate.

To inhabit this landscape is to move among the residual material of production. There is no longer an external nature to offer a transcendentalist escape. As a global phenomenon, waste has become a vernacular, dispersed and accumulating without boundary. Within this material ecology, movement becomes a means of relation. The subject encounters the landscape through its circulation. Roll, Pitch, and Yaw describes the continuous adjustment of a body within this field. Three axes of orientation within a landscape that no longer has an outside.

¹Smithson, Robert. "A Tour of the Monuments of Passaic, New Jersey." Originally published as "The Monuments of Passaic." Artforum Vol.6, No.4 (December, 1967).

² Ibid. Smithson quoting Vladimir Nabokov, “Invitation to a Beheading”, trans. Dmitri Nabokov in collaboration with the author (New York: G. P. Putnam’s Sons, 1959).

Olivia Drusin & Steph Gonzalez-Turner
Second Interior
5.2.2026 - 6.28.2026

Patrick Carlin Mohundro
pezzettino
Barely Fair, Chicago, IL

4.3.2026 - 4.19.2026

Brandi Twilley & Rebecca Twilley
Life And All Its Hands

1.31.2026 - 4.12.2026

open Saturday - Sunday
2PM - 4PM
or by appointment

behind Newtown Radio
262 Meserole St.
Brooklyn, NY

“On the bases of this mobile civilization, architecture will, at least initially, be a means of experimenting with a thousand ways of modifying life, with a view to an ultimate mythic synthesis.“

© 2026 International Waters

Olivia Drusin & Steph Gonzalez-Turner Second Interior 5.2.2026 - 6.28.2026

Patrick Carlin Mohundro pezzettino Barely Fair, Chicago, IL