https://internationalwaters.international INTERNATIONAL WATERS Sun, 26 Apr 2026 17:38:23 +0000 https://internationalwaters.international en https://internationalwaters.international/Second-Interior Sun, 26 Apr 2026 17:38:23 +0000 INTERNATIONAL WATERS https://internationalwaters.international/Second-Interior Olivia Drusin &amp; Steph Gonzalez-Turner Second Interior 5.2.2026 - 6.28.2026 Corridors no longer simply link A to B but have become ‘destinations.’ … All perspective is gone … The formerly straight is coiled into evermore complex configurations.Rem Koolhaas, Junkspace, 2001 Two paintings of hallways stand at either end of the inclining gallery, establishing a directional field in which passage is staged. Between them, two monolithic forms composed of a layered wooden parquetry suggest an endless linear architecture, where a sequence of horizontal elements accumulates into a vertical axis. For the exhibition Second Interior at International Waters, artists Olivia Drusin and Steph Gonzalez-Turner relate movement through architecture as a condition of subjectivity; the linear passage as a psychic relay that reorganizes that which passes through it.&nbsp; &nbsp; Architecture changes with movement; its connections and folds produce transitions that divide space through difference and repetition, articulating thresholds where interior and exterior, image and structure, begin to collapse into one another. Transitional spaces (hallways, vestibules, tunnels) organize passage, directing movement between connected points. Within these spaces, the body is reorganized. No longer anchored to the identity of a room, the body is reduced to a bounded unit of movement, aligned and guided by spatial constraint. The hallway temporarily reassigns the body its position, suspending it between fixed identities and producing a subject in transit. Olivia Drusin’s diptychs My Apartment and de Chirico’s Apartment depict the end of two hallways from inverted perspectives: one from above, the other from below. Saturated in technicolor green with red inflections, these interiors destabilize orientation, situating the viewer between image and architecture. Drawing from her visit last year to Giorgio de Chirico’s apartment, Drusin sets his space against her own, producing a doubled interior in which her lived experience is brought into relation with that of the canonical painter. The corridor becomes a site of projection, where the mobile subject is caught within its own spatial image. Steph Gonzalez Turner’s sculptures, entitled Chlorophyll and Pin Quartz, translate linear passage into vertical accumulation and compression. Composed of tightly joined wooden pieces, their Scheele’s green surface is defined by the exposed and painted endgrain of each wooden layer, forming a patterned facade that reads as both structure and surface. As the tessellated constructions stretch upwards, the stacked forms produce their own movement and direction, determined by the constraints and logic of their construction. As condensed passages, the architectons produce a kind of vertical drift: the proliferation of implied corridors that repeat and multiply, legible only at their outermost surface, like a glass curtain-wall skyscraper encountered from the outside, or a layered sequence suspended in its own ascent. As movement through architecture reorganizes the body, architecture also bears the imprint of the bodies that move through it. Here, architecture reflects the subject that inhabits it, but never transparently. For both artists, space is conditioned by the subject, foregrounding the synthetic character of its surroundings. The artists’ shared use of green recalls the chromatic lighting in Hitchcock’s Vertigo, where color functions as a spatialization of artifice and desire, producing a recursive movement that echoes the film's harmonograph spiral. As the subject projects itself onto its constructed environment, it simultaneously absorbs its structure, generating a reciprocal condition in which psychological experience and constructed space are co-constitutive. What emerges is a continuous interior in which perception is inseparable from the architectures that structure it. <img width="2874" height="96" width_o="2874" height_o="96" data-src="https://freight.cargo.site/t/original/i/7fe4b2d076daafd5db7e63b3cecd7e5a6d9c3c11691a6f99327c6b4b01d436f3/Asset-210x.png" data-mid="247603719" border="0" src="https://freight.cargo.site/w/1000/i/7fe4b2d076daafd5db7e63b3cecd7e5a6d9c3c11691a6f99327c6b4b01d436f3/Asset-210x.png" /> Koolhaas, Rem. “Junkspace.” October, no. 100 (Spring 2002): p. 181. Originally published in Harvard Design School Guide to Shopping (Köln: Taschen; Cambridge, MA: Harvard Design School, 2001). <img width="2874" height="96" width_o="2874" height_o="96" data-src="https://freight.cargo.site/t/original/i/7fe4b2d076daafd5db7e63b3cecd7e5a6d9c3c11691a6f99327c6b4b01d436f3/Asset-210x.png" data-mid="247603719" border="0" src="https://freight.cargo.site/w/1000/i/7fe4b2d076daafd5db7e63b3cecd7e5a6d9c3c11691a6f99327c6b4b01d436f3/Asset-210x.png" /> <img width="2550" height="3300" width_o="2550" height_o="3300" data-src="https://freight.cargo.site/t/original/i/b15e935a407c9aabe6cb41a51decc825bd68b2cb61a298a9e0fc1e91ff5e3914/FLYER_PR_SECOND_INTERIOR.jpg" data-mid="247603732" border="0" src="https://freight.cargo.site/w/1000/i/b15e935a407c9aabe6cb41a51decc825bd68b2cb61a298a9e0fc1e91ff5e3914/FLYER_PR_SECOND_INTERIOR.jpg" /> https://internationalwaters.international/THE-MACHINE-IN-THE-GARDEN Tue, 23 Dec 2025 13:38:29 +0000 INTERNATIONAL WATERS https://internationalwaters.international/THE-MACHINE-IN-THE-GARDEN Shaun&nbsp;Krupa &amp; Barbara&nbsp;BloomThe Machine in the Garden4.9.2022 – 6.12.2022 <img width="7176" height="5285" width_o="7176" height_o="5285" data-src="https://freight.cargo.site/t/original/i/b2438c280ee9a942dbecfcfd24e73963a20b2d005be85c3210812ddde03ea08d/Intl-Wtrs_2022_The_Machine_in_the_Garden_install_01.jpg" data-mid="242105611" border="0" src="https://freight.cargo.site/w/1000/i/b2438c280ee9a942dbecfcfd24e73963a20b2d005be85c3210812ddde03ea08d/Intl-Wtrs_2022_The_Machine_in_the_Garden_install_01.jpg" /> <img width="11040" height="5488" width_o="11040" height_o="5488" data-src="https://freight.cargo.site/t/original/i/91dc1e1649f49cc0fe84abacd5b1e0632165bbc223a5243f703f184bd22eb1c4/Intl-Wtrs_2022_The_Machine_in_the_Garden_01.jpg" data-mid="242105615" border="0" src="https://freight.cargo.site/w/1000/i/91dc1e1649f49cc0fe84abacd5b1e0632165bbc223a5243f703f184bd22eb1c4/Intl-Wtrs_2022_The_Machine_in_the_Garden_01.jpg" /> <img width="4242" height="5562" width_o="4242" height_o="5562" data-src="https://freight.cargo.site/t/original/i/bcfc22834c98e049540c3b28e2c5e13cd556b4598acb174a3b0acfb1909d1177/Intl-Wtrs_2022_The_Machine_in_the_Garden_install_02.jpg" data-mid="242105612" border="0" src="https://freight.cargo.site/w/1000/i/bcfc22834c98e049540c3b28e2c5e13cd556b4598acb174a3b0acfb1909d1177/Intl-Wtrs_2022_The_Machine_in_the_Garden_install_02.jpg" /><img width="3472" height="5343" width_o="3472" height_o="5343" data-src="https://freight.cargo.site/t/original/i/80d02f09b5ee81bcd952be007682f1be3a9961797eb95ee494aa54edf15a89c0/Intl-Wtrs_2022_The_Machine_in_the_Garden_install_03.jpg" data-mid="242105613" border="0" src="https://freight.cargo.site/w/1000/i/80d02f09b5ee81bcd952be007682f1be3a9961797eb95ee494aa54edf15a89c0/Intl-Wtrs_2022_The_Machine_in_the_Garden_install_03.jpg" /> <img width="6887" height="4269" width_o="6887" height_o="4269" data-src="https://freight.cargo.site/t/original/i/05d10c8bcf9a2db703c0f767e368fdc00adc23ab664457db35a3d3a600f9cf3f/Intl-Wtrs_2022_The_Machine_in_the_Garden_03.jpg" data-mid="242105609" border="0" src="https://freight.cargo.site/w/1000/i/05d10c8bcf9a2db703c0f767e368fdc00adc23ab664457db35a3d3a600f9cf3f/Intl-Wtrs_2022_The_Machine_in_the_Garden_03.jpg" /> <img width="8207" height="5672" width_o="8207" height_o="5672" data-src="https://freight.cargo.site/t/original/i/22b7e6cd09f47b61cfa4159efb10041e94180d28d400cf6df8a9c867b79eb58b/Intl-Wtrs_2022_The_Machine_in_the_Garden_02.jpg" data-mid="242105616" border="0" src="https://freight.cargo.site/w/1000/i/22b7e6cd09f47b61cfa4159efb10041e94180d28d400cf6df8a9c867b79eb58b/Intl-Wtrs_2022_The_Machine_in_the_Garden_02.jpg" /> <img width="7024" height="4560" width_o="7024" height_o="4560" data-src="https://freight.cargo.site/t/original/i/8716508bcb0f0cfa54c3550485536f7caac7456c677149974ae8c693e5780a3b/Intl-Wtrs_2022_The_Machine_in_the_Garden_install_04.jpg" data-mid="242105614" border="0" src="https://freight.cargo.site/w/1000/i/8716508bcb0f0cfa54c3550485536f7caac7456c677149974ae8c693e5780a3b/Intl-Wtrs_2022_The_Machine_in_the_Garden_install_04.jpg" /> <img width="800" height="712" width_o="800" height_o="712" data-src="https://freight.cargo.site/t/original/i/fc15d19e0408028f00ddb8661ef16166d7355cf0ba825f08cdf25676af7b87fb/Monte--Guidobaldo--Marchese-Del--THE-THEORY-OF-THE-ARCHIMEDEAN-SCREW--Macclesfield-First-Edition--1615.jpg" data-mid="242105608" border="0" alt="Monte, Guidobaldo, Marchese Del, &ldquo;The Theory of the Archimedean Screw&rdquo;, Macclesfield First Edition, 1615." data-caption="Monte, Guidobaldo, Marchese Del, “The Theory of the Archimedean Screw”, Macclesfield First Edition, 1615." src="https://freight.cargo.site/w/800/i/fc15d19e0408028f00ddb8661ef16166d7355cf0ba825f08cdf25676af7b87fb/Monte--Guidobaldo--Marchese-Del--THE-THEORY-OF-THE-ARCHIMEDEAN-SCREW--Macclesfield-First-Edition--1615.jpg" /> Illustration from: Monte, Guidobaldo, Marchese Del, “The Theory of the Archimedean Screw”, Macclesfield First Edition, 1615. On a clay prism, an Akkadian inscription written by Sennacherib (King of Assyria, 705–681 BC) describes for the first time the use of the Archimedean Screw, a device designed to carry water to great heights from the rivers below to irrigate the Hanging Gardens of Babylon: …I created clay molds as if by divine intelligence for great cylinders and Alamittu Palms, tree of riches; twelve fierce lion-colossi together with twelve mighty bull-colossi which were perfect castings; twenty-two cow-colossi invested with joyous allure, plentifully endowed with sexual attraction; and I poured copper into them over and over again... In order to draw water up all day long I had ropes, bronze wires and bronze chains made… I set up the great cylinders and Alamittu Palms over cisterns... I raised the height of the surroundings of the palace to be a Wonder for all Peoples. I gave it the name: "Incomparable Palace." A park imitating the Amanus Mountains I laid out next to it, with all kinds of aromatic plants, orchard fruit trees…1 Shaun Krupa’s “Archimedean Screw” is trapped on an incline. The screw in motion moves material, both solid and liquid, as if to dispossess the natural landscape of its initial form in favor of the cylindrical pathway that the screw’s body commands. The screw in its infinite mobility is a Sisyphean character. Its form and function are irreducible; the screw’s boring labor is a quintessential activity for the reformation of the physical environment. Sennacherib’s description of the ability for the screw to displace water is expressed as a sublime property and as an exploit. The experience of the geometric sublime in this case is the machine in the garden.2 The works of Barbara Bloom and Shaun Krupa suggest a world of objects embedded with content and function. A landscape without bodies. Bloom’s “Corner: Japanese Garden” depicts an interior corner of a room with glass walls that are surrounded by a manicured garden; nature qua artifice. The photo, which itself is in a corner, attracts its beholder to the corner. The architecture exceeds itself. Similarly, Bloom’s “Corner: Italian Garden” places the viewer in a corner at the intersection of two pathways with a view to an interior courtyard garden. Again, the architecture frames a constructed natural environment; repeating arches and columns give image to a nature that is defined by its geometric order. The geometric sublime was static and appeared to dominate nature through elegant design and sheer bulk…these structures expressed the triumph of reason in concrete form, proving that the world was becoming, in Emerson’s words, ‘a realized will’—‘the double of man.’&nbsp;3 When architecture is understood as “a realized will”,4 its remnants in the expanded field become an archive of past desires. Bloom’s gardens, perceived as desires, can only be seen through layers of architectural remediation—nature is trapped by architecture; the architecture frames the desire for a version of nature that is more perfect than itself. Perhaps it is a fetishistic dispossession of nature that has led us to this point of ontological confusion. But just as the Archimedean Screw’s defiance of gravity was a conceptual leap technologically, it was also something that gave image to a world without labor; a world in which constructed forms represented a utopia akin to Macondo, the city of mirrors.5 Translation by Stephanie Dalley. Dalley, Stephanie and Oleson, John Peter. Sennacherib, Archimedes, and the Water Screw: The Context of Invention in the Ancient World. Johns Hopkins University Press, 2003. “The Machine in the Garden: Technology and the Pastoral Ideal in America” is the title of a 1964 work of literary criticism written by Leo Marx and published by Oxford University Press. Nye, David E. American Technological Sublime. Cambridge, MA: MIT Press, 2007. Emerson, Ralph Waldo. Nature. Penguin Books, 2008. Márquez García Gabriel. One Hundred Years of Solitude. London: Viking, 2014. https://internationalwaters.international/HONEST-BODIES Tue, 23 Dec 2025 13:38:31 +0000 INTERNATIONAL WATERS https://internationalwaters.international/HONEST-BODIES Taylor Baldwin and Serra Victoria Bothwell Fels Honest Bodies2.12.2022- 3.27.2022 <img width="1200" height="1500" width_o="1200" height_o="1500" data-src="https://freight.cargo.site/t/original/i/5ad6b2d5d05f1ca994f9ce6118c705687783bbc37f950447ddbb9f4e259ac350/HONESTBODIES-PROMO-BUST2.jpg" data-mid="242105620" border="0" src="https://freight.cargo.site/w/1000/i/5ad6b2d5d05f1ca994f9ce6118c705687783bbc37f950447ddbb9f4e259ac350/HONESTBODIES-PROMO-BUST2.jpg" /> <img width="5206" height="7182" width_o="5206" height_o="7182" data-src="https://freight.cargo.site/t/original/i/473e7afb85a8a235133bde62e78906bc104e56b8f335f1294a126c7691fe3e3a/IntWaters_012.jpg" data-mid="242105630" border="0" src="https://freight.cargo.site/w/1000/i/473e7afb85a8a235133bde62e78906bc104e56b8f335f1294a126c7691fe3e3a/IntWaters_012.jpg" /> <img width="4776" height="7344" width_o="4776" height_o="7344" data-src="https://freight.cargo.site/t/original/i/351152ed7df3d80db583c8cba9cadf35013608d9abae4bd282c2b11c2029e797/IntWaters_001.jpg" data-mid="242105621" border="0" src="https://freight.cargo.site/w/1000/i/351152ed7df3d80db583c8cba9cadf35013608d9abae4bd282c2b11c2029e797/IntWaters_001.jpg" /> <img width="5792" height="8688" width_o="5792" height_o="8688" data-src="https://freight.cargo.site/t/original/i/5ad0c6f8d8051a2d366eef26879817b17223fcf125563ab32c062ad69b2c3130/IntWaters_017.jpg" data-mid="242105632" border="0" src="https://freight.cargo.site/w/1000/i/5ad0c6f8d8051a2d366eef26879817b17223fcf125563ab32c062ad69b2c3130/IntWaters_017.jpg" /> <img width="4385" height="6577" width_o="4385" height_o="6577" data-src="https://freight.cargo.site/t/original/i/42c1a79c7d8cbdc2b7dcdcd225b204aabc47a7c48aa4c496d37ce285a2c506f1/IntWaters_021.jpg" data-mid="242105624" border="0" src="https://freight.cargo.site/w/1000/i/42c1a79c7d8cbdc2b7dcdcd225b204aabc47a7c48aa4c496d37ce285a2c506f1/IntWaters_021.jpg" /> <img width="5792" height="8688" width_o="5792" height_o="8688" data-src="https://freight.cargo.site/t/original/i/a3e36f9230111319879e00998365141944102c9c79d34e97ee104645dc37a61a/IntWaters_018.jpg" data-mid="242105633" border="0" src="https://freight.cargo.site/w/1000/i/a3e36f9230111319879e00998365141944102c9c79d34e97ee104645dc37a61a/IntWaters_018.jpg" /> <img width="5327" height="8044" width_o="5327" height_o="8044" data-src="https://freight.cargo.site/t/original/i/a0e60d0d3b23e646eb1ca8473b71470585f177aa7d55100680e5698d9bc72fba/IntWaters_007.jpg" data-mid="242105627" border="0" src="https://freight.cargo.site/w/1000/i/a0e60d0d3b23e646eb1ca8473b71470585f177aa7d55100680e5698d9bc72fba/IntWaters_007.jpg" /> <img width="4834" height="6420" width_o="4834" height_o="6420" data-src="https://freight.cargo.site/t/original/i/74f535d489186c94563cd4476e64a7f6cc541f6b878d4cf86c250ce4f478d4d1/IntWaters_008.jpg" data-mid="242105623" border="0" src="https://freight.cargo.site/w/1000/i/74f535d489186c94563cd4476e64a7f6cc541f6b878d4cf86c250ce4f478d4d1/IntWaters_008.jpg" /> <img width="3785" height="6048" width_o="3785" height_o="6048" data-src="https://freight.cargo.site/t/original/i/a4f89ecf59364716a641c8e47139f9f48df07145c6505c026d1a72e1a0e16453/IntWaters_004.jpg" data-mid="242105622" border="0" src="https://freight.cargo.site/w/1000/i/a4f89ecf59364716a641c8e47139f9f48df07145c6505c026d1a72e1a0e16453/IntWaters_004.jpg" /> <img width="5120" height="7680" width_o="5120" height_o="7680" data-src="https://freight.cargo.site/t/original/i/462b809d9c964f730c2db89399607d7b663a3f585c80990134bf5a39ad3a9a8f/IntWaters_024.jpg" data-mid="242105635" border="0" src="https://freight.cargo.site/w/1000/i/462b809d9c964f730c2db89399607d7b663a3f585c80990134bf5a39ad3a9a8f/IntWaters_024.jpg" /> <img width="5595" height="8392" width_o="5595" height_o="8392" data-src="https://freight.cargo.site/t/original/i/4546f8974d1cefb86c02e427cd4fb576796427f8aa267bf10b8d2108afca5462/IntWaters_026.jpg" data-mid="242105636" border="0" src="https://freight.cargo.site/w/1000/i/4546f8974d1cefb86c02e427cd4fb576796427f8aa267bf10b8d2108afca5462/IntWaters_026.jpg" /> <img width="5792" height="8688" width_o="5792" height_o="8688" data-src="https://freight.cargo.site/t/original/i/1d7b9efc319151665444ea75827d78c6d3639e630f5d47f6fa301dc1eb63e892/IntWaters_015.jpg" data-mid="242105631" border="0" src="https://freight.cargo.site/w/1000/i/1d7b9efc319151665444ea75827d78c6d3639e630f5d47f6fa301dc1eb63e892/IntWaters_015.jpg" /> “Sure there's temptations to jump into the quicksand and disappear myself for the easy and rote approval of instant validation, but that will soon dry up and evaporate. What is eternal I think, is a relationship to a kind of beauty that shifts alongside you. My hope is that when I'm 70, and 80, and 90 and 100, I can look at my skin and still find it beautiful because it's honest to what I am at those ages, my hope is that increasingly, I become comfortable with the creases under my eyes, around my lips, because they're honest, they're markers of what it means for me to have lived. My hope is that the “discolorations” won't be seen as discoloration, they will just be seen as variations in my skin tone, which are honest, because I'm not sleeping, my hope is that we don't have to lie and pretend about the collateral weight that capitalism has on our bodies that of course, we're exhausted, and it shouldn't be my responsibility to conceal that exhaustion, I should be able to say I am exhausted. I guess it’s just honest bodies and that's always what motivated me in fact.” — Alok Vaid-Menon Our bodies follow material pathways.&nbsp; As we experience a shifting material landscape through the conditions of this pandemic, mortality and death are made visible as stages of a material process.&nbsp; Death, as a final teleological event, is a material process that is often garnished by ritual and ceremony.&nbsp; Our bodies, decorated in their final moments, are vessels for projected human visions of utopia; their ornament indicates a final conquest to be experienced by the body without organs in landscapes of the sublime. Bodies are subject to the same modes of existence as all objects–a banal series of values and crossings that determine position and context.&nbsp; Subject to laws and nature, the body as an object is incorrectly distinguished by its desires.&nbsp; Desires appear to be independent actors within these wheels of commerce, but they too are affected by the same forms of manipulation characterized by any repressive desublimation.&nbsp; Our society of repression favors instantaneous pleasure and diminishes our ability to have social critique.&nbsp; Is it possible to have an honest body?&nbsp; “This was a low year, a year spent looking at the ground, a year spent walking, outdoors, alone or with others, spent looking at the sidewalk, at the things people were throwing away. This was a year spent trying to find the value in the least of what we had, of what we had been taking for granted. This was a year I spent collecting every scrap of ‘worthless’ thing I found on the street, large or small, in the New York City neighborhoods where I live and work. This was a year I also spent visiting every major cemetery in the five boroughs, cataloging and collecting the ways we’ve used representations of our bodies in stone and arrangements of objects to describe our grief. This was a year I also spent digging in the ground at various informal and accidental archeological sites across the city - from dead horse bay to municipal construction sites after-hours – to collect what fragmentary material history of our city remains beneath us in the ground. All these things are ‘low’ things, things we put in or on the ground. They are in many ways the least of what we have, as a city, and they are the only things this work is made from.” — Taylor Baldwin How should we celebrate our bodies as material; as a part of the architectonic skin of all objects in motion?&nbsp; This naked planet does not care if we die.&nbsp; Nor does this society of repression provide answers to questions of existence as it relates to commerce and circulation.&nbsp; For if it did, the repressed society would reveal its determination to control for the sake of its own survival and motion.&nbsp; Serra Victoria Bothwell Fels and Taylor Baldwin propose that physical material is not a skin, but rather a forever-changing representation of our history.&nbsp; The ground quite literally is a formulary for understanding past desires and, thereby, is foundational to understanding the material conditions that shape our thoughts and visions.&nbsp; To transgress the conditions of a capitalistic outgrowth, the body must remain aware of the architectural parameters that define its containment. &nbsp;&nbsp; “Natural ecosystems evolve through organisms changing themselves to exploit unoccupied niches within an environment, creating opportunities for their own growth. I approach the constructed environments we occupy in much the same way. My installations of architectural opportunism investigate the pockets of architectural landscapes that are underutilized, unoccupied, and can make space for a shift in perception. I manipulate and adapt existing structures, making surrealist outbreaks that merge and confound our expectations of body, of place, of being.” — Serra Victoria Bothwell Fels By manipulating the landscape, Fels and Baldwin call attention to the processes in which the ground distorts our understanding of space.&nbsp; On this inclining promenade, Fels and Baldwin present distorted bodies created with a debased understanding of material normatives.&nbsp; Figures with skins of cultural refuse stand as altars asunder a drop ceiling, which in its own movement sags toward the ground as if in a gravitational escape from the geometric order that supports it.&nbsp; This ecosystem, like a knife in the water, transgresses a pacified habituation of space and all of its conditional manipulations. This project was supported, in part, by a Foundation for Contemporary Arts Emergency Grant. <img width="1200" height="158" width_o="1200" height_o="158" data-src="https://freight.cargo.site/t/original/i/43c1f2629d9f3dfa2e5fd8c87af9412be00c601655bfb4255128b8edd51a297b/Asset-1.png" data-mid="242105617" border="0" src="https://freight.cargo.site/w/1000/i/43c1f2629d9f3dfa2e5fd8c87af9412be00c601655bfb4255128b8edd51a297b/Asset-1.png" /> Taylor Baldwin (b. tucson, az 1983) is an artist working primarily in sculpture, video, and installation. he received a bfa from rhode island school of design in 2005 and an mfa from virginia commonwealth university in 2007. he has been a resident at the skowhegan school of painting and sculpture, the fine arts work center, the bemis center for contemporary art, and the seven below arts initiative. Baldwin has exhibited individually at wayfarers gallery (brooklyn, ny) conner contemporary gallery (washington d.c.) , land of tomorrow gallery (louisville, ky), and vox populi (philadelphia, pa) as well as groups shows at the queens museum of art (queens, ny), tucson museum of contemporary art (tucson, az), the virginia museum of contemporary art (norfolk, va), the kentucky museum of arts and craft (louisville, ky) and zürcher gallery (manhatten, ny). he is currently based in queens, new york and providence, rhode island. Serra Victoria Bothwell Fels (b. Knoxville, TN) works in site-responsive sculptural installations embedded into pre-existing architectural contexts. Her sculptural interventions and outcroppings transform mundane architectural features into sites of imaginative disruption, unexpectedly shifting our sense of reality, and revealing the significant role our environment plays in our perceptions of being. Initially trained as a social psychologist at Stanford University, then as a metalsmith at the Appalachian Center for Craft, Bothwell Fels received her MFA from Columbia University. Her work has been presented at the Palais de Tokyo (Paris), The Clocktower Gallery (NYC), Pioneer Works (Brooklyn), University of Wisconsin (Oshkosh), BRIC (Brooklyn), Sun Valley Center for the Arts (Ketchum), and Smack Mellon (Brooklyn). She is the recipient of a Peter S. Reed Foundation Award, Purchase College’s Windgate Fellowship, and a 2019 NYFA Architecture/Environmental Structure/Design Finalist. https://internationalwaters.international/SAY-IT-WITH-FLOWERS Tue, 23 Dec 2025 13:38:33 +0000 INTERNATIONAL WATERS https://internationalwaters.international/SAY-IT-WITH-FLOWERS Nate HeigesSay It With Flowers2.1.2019 - 2.28.2019&nbsp; <img width="2000" height="2500" width_o="2000" height_o="2500" data-src="https://freight.cargo.site/t/original/i/35fbe40cc97fe9b5414f8f39bb1279a72b0c7e3f5a44573e86b19b72c6319acb/DSCF3610.jpg" data-mid="242105638" border="0" src="https://freight.cargo.site/w/1000/i/35fbe40cc97fe9b5414f8f39bb1279a72b0c7e3f5a44573e86b19b72c6319acb/DSCF3610.jpg" /><img width="2000" height="2500" width_o="2000" height_o="2500" data-src="https://freight.cargo.site/t/original/i/52834f4b6d5703a6c26743f31b905d2ba5365832059b33b8313b3f1c379e5559/DSCF3612.jpg" data-mid="242105639" border="0" src="https://freight.cargo.site/w/1000/i/52834f4b6d5703a6c26743f31b905d2ba5365832059b33b8313b3f1c379e5559/DSCF3612.jpg" /><img width="2000" height="2500" width_o="2000" height_o="2500" data-src="https://freight.cargo.site/t/original/i/25f7e327b33f468c2067afd8d2aab22cff575e79998b4c72fbde5ae18f7ede1d/DSCF3636.jpg" data-mid="242105646" border="0" src="https://freight.cargo.site/w/1000/i/25f7e327b33f468c2067afd8d2aab22cff575e79998b4c72fbde5ae18f7ede1d/DSCF3636.jpg" /><img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/ae5c84a27a052a162a19cdc7e8e6e58f5183958910a4e36a647094f1fee1eb70/DSCF3618.jpg" data-mid="242105641" border="0" src="https://freight.cargo.site/w/1000/i/ae5c84a27a052a162a19cdc7e8e6e58f5183958910a4e36a647094f1fee1eb70/DSCF3618.jpg" /><img width="2000" height="2500" width_o="2000" height_o="2500" data-src="https://freight.cargo.site/t/original/i/76c372919d823ded18fd074f1d002c0cfb7b02f5d04c2b915a5eb13efc2cf3d3/DSCF3634.jpg" data-mid="242105645" border="0" src="https://freight.cargo.site/w/1000/i/76c372919d823ded18fd074f1d002c0cfb7b02f5d04c2b915a5eb13efc2cf3d3/DSCF3634.jpg" /><img width="2000" height="2500" width_o="2000" height_o="2500" data-src="https://freight.cargo.site/t/original/i/560c5b25f0e29dc6bb0a9a3d60edf6c70107f27c881f8ae7693feaa817cb550f/DSCF3616.jpg" data-mid="242105640" border="0" src="https://freight.cargo.site/w/1000/i/560c5b25f0e29dc6bb0a9a3d60edf6c70107f27c881f8ae7693feaa817cb550f/DSCF3616.jpg" /><img width="1667" height="2500" width_o="1667" height_o="2500" data-src="https://freight.cargo.site/t/original/i/daf198a9b744c9a14022f73d0279aaaf25e62fab6a07c47139e02c30ca8a16a1/DSCF3627.jpg" data-mid="242105643" border="0" src="https://freight.cargo.site/w/1000/i/daf198a9b744c9a14022f73d0279aaaf25e62fab6a07c47139e02c30ca8a16a1/DSCF3627.jpg" /><img width="1667" height="2500" width_o="1667" height_o="2500" data-src="https://freight.cargo.site/t/original/i/c6ce8e594fe2d7cab46d5f657202427534db64c5339db6b0ee11ae47db8cace9/DSCF3638.jpg" data-mid="242105647" border="0" src="https://freight.cargo.site/w/1000/i/c6ce8e594fe2d7cab46d5f657202427534db64c5339db6b0ee11ae47db8cace9/DSCF3638.jpg" /><img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/d2de8142d0120015a5c08fd2192b2dedad3187c1f01537ace861035c824e42d3/DSCF3623.jpg" data-mid="242105642" border="0" src="https://freight.cargo.site/w/1000/i/d2de8142d0120015a5c08fd2192b2dedad3187c1f01537ace861035c824e42d3/DSCF3623.jpg" /><img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/6e3d4cbc78ba5359d5a5657ce17984cf57fe979802446911acbd10f9178e3797/DSCF3629.jpg" data-mid="242105644" border="0" src="https://freight.cargo.site/w/1000/i/6e3d4cbc78ba5359d5a5657ce17984cf57fe979802446911acbd10f9178e3797/DSCF3629.jpg" /> Say It With Flowers For the inaugural exhibition of International Waters, Nate Heiges presents a series of paintings and sculptures made using materials found predominantly on the anti-pastoral streets of Bushwick and the East Williamsburg Industrial Park. Say it with Flowers, a phrase taken from the wrapping paper of bodega bouquets, serves as a metaphor for both the ubiquity and the necessity of language as well as its all-too-common suppression and subversion. Heiges manipulates vernacular objects into a détourned bricolage, by turns funny and sad, of the surrounding landscape.No flowers were harmed in the making of this exhibition https://internationalwaters.international/NO-HOLIDAY-IS-FOREVER Tue, 23 Dec 2025 13:38:34 +0000 INTERNATIONAL WATERS https://internationalwaters.international/NO-HOLIDAY-IS-FOREVER Andy Kincaid&nbsp; no holiday is foreverwith Adam and Hannah Bateman, Amra Causevic, Ben Dowell, Siera Hyte, Sara Ludy, Shana Moulton, Thomas Macker, Andrea McGinty, Anoushe Shojae-Chaghorvand, Trang Tran and Chang Sujung, Chen Chen &amp; Kai Williams, Ellen Pong, Imaan Saatr, Isabel Rower, LIPS, Max Lamb, Walter Mingledorff 5.1.2021 - 7.18.2021 <img width="2460" height="3912" width_o="2460" height_o="3912" data-src="https://freight.cargo.site/t/original/i/ddd699d6fc55afa3d8ba736b42db3dca78b0396c0ec50c48a04a5a2c7c84e81c/no_holiday-53.jpg" data-mid="242105699" border="0" src="https://freight.cargo.site/w/1000/i/ddd699d6fc55afa3d8ba736b42db3dca78b0396c0ec50c48a04a5a2c7c84e81c/no_holiday-53.jpg" /> <img width="4786" height="3626" width_o="4786" height_o="3626" data-src="https://freight.cargo.site/t/original/i/4ab97bd637642031f8727bce3aca9f3ed89424265f56e3ed2f009011010e3b2a/no_holiday-32.jpg" data-mid="242105678" border="0" src="https://freight.cargo.site/w/1000/i/4ab97bd637642031f8727bce3aca9f3ed89424265f56e3ed2f009011010e3b2a/no_holiday-32.jpg" /> <img width="6516" height="4350" width_o="6516" height_o="4350" data-src="https://freight.cargo.site/t/original/i/13b42336b7ac00d8c03e91904cd6ee444b0cdddcf64129243f50c0175cc26b07/no_holiday-28.jpg" data-mid="242105674" border="0" src="https://freight.cargo.site/w/1000/i/13b42336b7ac00d8c03e91904cd6ee444b0cdddcf64129243f50c0175cc26b07/no_holiday-28.jpg" /> <img width="4236" height="3287" width_o="4236" height_o="3287" data-src="https://freight.cargo.site/t/original/i/18671dfbc73ea936843e807a1a889ff93c1763b144f664619eed5c07c36ec7bf/no_holiday-31.jpg" data-mid="242105677" border="0" src="https://freight.cargo.site/w/1000/i/18671dfbc73ea936843e807a1a889ff93c1763b144f664619eed5c07c36ec7bf/no_holiday-31.jpg" /> <img width="2160" height="2808" width_o="2160" height_o="2808" data-src="https://freight.cargo.site/t/original/i/e55060c1595cde8783f1c4f1605b483bad13f8ca8a38c35dbd478cfcb37ae181/no_holiday-64.jpg" data-mid="242105717" border="0" src="https://freight.cargo.site/w/1000/i/e55060c1595cde8783f1c4f1605b483bad13f8ca8a38c35dbd478cfcb37ae181/no_holiday-64.jpg" /> <img width="2831" height="3917" width_o="2831" height_o="3917" data-src="https://freight.cargo.site/t/original/i/4f2af991ed9a8aa1f96ffd02fb27e82a82473061c0a8abd5e3cd7a35021c4ccb/no_holiday-45.jpg" data-mid="242105691" border="0" src="https://freight.cargo.site/w/1000/i/4f2af991ed9a8aa1f96ffd02fb27e82a82473061c0a8abd5e3cd7a35021c4ccb/no_holiday-45.jpg" />Andy Kincaid, Dream home. A new migration [installation view], 2021video, 2:34 <img width="2807" height="1953" width_o="2807" height_o="1953" data-src="https://freight.cargo.site/t/original/i/9377d9d0fed06faef5f31f056b05c1af3996a65ec91c1de014db87c0bf04979c/no_holiday-50.jpg" data-mid="242105696" border="0" src="https://freight.cargo.site/w/1000/i/9377d9d0fed06faef5f31f056b05c1af3996a65ec91c1de014db87c0bf04979c/no_holiday-50.jpg" />Shana Moulton, Moonbirth [installation view], 2021video, 6:11 <img width="3360" height="1887" width_o="3360" height_o="1887" data-src="https://freight.cargo.site/t/original/i/7cb8a3c0582b9f8f030f8f2ec9fbc34a494bff889d5760f9fddfe62fc46a4568/no_holiday-59.jpg" data-mid="242105712" border="0" src="https://freight.cargo.site/w/1000/i/7cb8a3c0582b9f8f030f8f2ec9fbc34a494bff889d5760f9fddfe62fc46a4568/no_holiday-59.jpg" />Shana Moulton, Upgrade, 2021video, 6:32 <img width="3360" height="1884" width_o="3360" height_o="1884" data-src="https://freight.cargo.site/t/original/i/b37b1166a1799b6062f1e52182b16793f9fb7c8b3742237952c738b34cdd8b9f/no_holiday-56.png" data-mid="242105702" border="0" src="https://freight.cargo.site/w/1000/i/b37b1166a1799b6062f1e52182b16793f9fb7c8b3742237952c738b34cdd8b9f/no_holiday-56.png" />Shana Moulton, Treefall, 2021video, 6:24 <img width="4074" height="3081" width_o="4074" height_o="3081" data-src="https://freight.cargo.site/t/original/i/c41b4e8806be8833dabba63f6ada8c3bc1234af949c8bbd1f61b756a59255070/no_holiday-49.jpg" data-mid="242105695" border="0" src="https://freight.cargo.site/w/1000/i/c41b4e8806be8833dabba63f6ada8c3bc1234af949c8bbd1f61b756a59255070/no_holiday-49.jpg" />Sara Ludy, Beaches [installation view], 2021video, 2:00 <img width="1190" height="2100" width_o="1190" height_o="2100" data-src="https://freight.cargo.site/t/original/i/91fd6a10ff66a192d49a1507c0cdc5958335ef66766c03ffc1fa4743e08bd196/no_holiday-58.png" data-mid="242105711" border="0" src="https://freight.cargo.site/w/1000/i/91fd6a10ff66a192d49a1507c0cdc5958335ef66766c03ffc1fa4743e08bd196/no_holiday-58.png" /> Siera Hyte, 5waystolocateyourbodybeforesleep, 2021video, 4:58 <img width="2519" height="1888" width_o="2519" height_o="1888" data-src="https://freight.cargo.site/t/original/i/cd25395ff1735dd463fd2a69ad1ae4666deafda0627de18501af5066966c9619/no_holiday-54.png" data-mid="242105700" border="0" src="https://freight.cargo.site/w/1000/i/cd25395ff1735dd463fd2a69ad1ae4666deafda0627de18501af5066966c9619/no_holiday-54.png" />Adam Bateman, walk west, 2021video, 13:22 <img width="3520" height="5768" width_o="3520" height_o="5768" data-src="https://freight.cargo.site/t/original/i/022d59cc43541f7b9b6b24cc40bd4353949e4310d3123395bff3eaaa97865385/no_holiday-33.jpg" data-mid="242105679" border="0" src="https://freight.cargo.site/w/1000/i/022d59cc43541f7b9b6b24cc40bd4353949e4310d3123395bff3eaaa97865385/no_holiday-33.jpg" />Andy Kincaid, [installation view of vestibule for Dream Homes. Beginning I-IV], 2021Drywall, steel doors, light, rabbit foot, copper photogravure plates, ink, cherry, acrylic <img width="4157" height="3597" width_o="4157" height_o="3597" data-src="https://freight.cargo.site/t/original/i/f834027633881c7386e2ad60e2cf29320e2120618afde082d7bffeffa2fe56e0/no_holiday-34.jpg" data-mid="242105680" border="0" src="https://freight.cargo.site/w/1000/i/f834027633881c7386e2ad60e2cf29320e2120618afde082d7bffeffa2fe56e0/no_holiday-34.jpg" /> Andy Kincaid,&nbsp;Dream home. Beginnings I - IV, 2021 Copper photogravure printing plate, ink, cherry, acrylic <img width="5219" height="4480" width_o="5219" height_o="4480" data-src="https://freight.cargo.site/t/original/i/9de07bf214245b79a0d300197117cc5ca6704c3c445085d628aa5cffefe84df3/no_holiday-35.jpg" data-mid="242105681" border="0" src="https://freight.cargo.site/w/1000/i/9de07bf214245b79a0d300197117cc5ca6704c3c445085d628aa5cffefe84df3/no_holiday-35.jpg" /> <img width="5219" height="4480" width_o="5219" height_o="4480" data-src="https://freight.cargo.site/t/original/i/0b864bd7906b663a0b014afa3be4343cf636f196aee2a8ffeb1804548b45d431/no_holiday-36.jpg" data-mid="242105682" border="0" src="https://freight.cargo.site/w/1000/i/0b864bd7906b663a0b014afa3be4343cf636f196aee2a8ffeb1804548b45d431/no_holiday-36.jpg" /> <img width="5219" height="4480" width_o="5219" height_o="4480" data-src="https://freight.cargo.site/t/original/i/dd77af1f7293f9d462aa4296a4aa3fa2f05937d5eede33932a64d333859f9447/no_holiday-43.jpg" data-mid="242105689" border="0" src="https://freight.cargo.site/w/1000/i/dd77af1f7293f9d462aa4296a4aa3fa2f05937d5eede33932a64d333859f9447/no_holiday-43.jpg" /> <img width="4272" height="6480" width_o="4272" height_o="6480" data-src="https://freight.cargo.site/t/original/i/075818806550efd640379ef575457b0864947d17d966c01502dded92bb002b6f/no_holiday-17.jpg" data-mid="242105663" border="0" src="https://freight.cargo.site/w/1000/i/075818806550efd640379ef575457b0864947d17d966c01502dded92bb002b6f/no_holiday-17.jpg" />Andy Kincaid, Dream home. Luck wall $$$ (home), 2021 Inkjet on billboard vinyl, ladder, paint, arcosanti chime, resor chime, small chime, snake, eBay horseshoe, Fenn’s treasure, horseshoe, silicone, dirt, marshmallow, Christmas wagon, atlas moth, rabbits foot <img width="5904" height="3936" width_o="5904" height_o="3936" data-src="https://freight.cargo.site/t/original/i/168eafb0e9f7c6bf478b7ef94dce0a28950f69b7b69b49aa84ae4e3d53a17fe0/no_holiday-65.jpg" data-mid="242105718" border="0" src="https://freight.cargo.site/w/1000/i/168eafb0e9f7c6bf478b7ef94dce0a28950f69b7b69b49aa84ae4e3d53a17fe0/no_holiday-65.jpg" /> <img width="4440" height="6694" width_o="4440" height_o="6694" data-src="https://freight.cargo.site/t/original/i/7c1321ceab331b570c5a63b7e8164e9a108650d6cf85a81c1a5829aac0ffa13c/no_holiday-25.jpg" data-mid="242105671" border="0" src="https://freight.cargo.site/w/1000/i/7c1321ceab331b570c5a63b7e8164e9a108650d6cf85a81c1a5829aac0ffa13c/no_holiday-25.jpg" /> <img width="2917" height="3646" width_o="2917" height_o="3646" data-src="https://freight.cargo.site/t/original/i/4a601e322fd4062d0ff414d17128d9ad7fe79bdbe755454fcb9842319f0a1228/no_holiday-03.jpeg" data-mid="242105709" border="0" src="https://freight.cargo.site/w/1000/i/4a601e322fd4062d0ff414d17128d9ad7fe79bdbe755454fcb9842319f0a1228/no_holiday-03.jpeg" /> Thomas Macker, Woodcutter, Franz Marc, 1911, 2012type C print <img width="4000" height="5000" width_o="4000" height_o="5000" data-src="https://freight.cargo.site/t/original/i/79e88836647c2f56f4044af7aee7e96076f256d9203bdbe860926e3e5d4464dc/no_holiday-04.jpeg" data-mid="242105710" border="0" src="https://freight.cargo.site/w/1000/i/79e88836647c2f56f4044af7aee7e96076f256d9203bdbe860926e3e5d4464dc/no_holiday-04.jpeg" /> Thomas Macker, Der Holzfäller, Ferdinand Hodler, 1910, 2012type C print <img width="4628" height="6818" width_o="4628" height_o="6818" data-src="https://freight.cargo.site/t/original/i/02ee16368866f6cb5b8ef3b7bbc58f8863a3b82af581ed009153d701356b6438/no_holiday-09.jpg" data-mid="242105656" border="0" src="https://freight.cargo.site/w/1000/i/02ee16368866f6cb5b8ef3b7bbc58f8863a3b82af581ed009153d701356b6438/no_holiday-09.jpg" />Andy Kincaid, Dreamhome. My wall, 2021urethane plastic, paint <img width="6516" height="4350" width_o="6516" height_o="4350" data-src="https://freight.cargo.site/t/original/i/13b42336b7ac00d8c03e91904cd6ee444b0cdddcf64129243f50c0175cc26b07/no_holiday-28.jpg" data-mid="242105674" border="0" src="https://freight.cargo.site/w/1000/i/13b42336b7ac00d8c03e91904cd6ee444b0cdddcf64129243f50c0175cc26b07/no_holiday-28.jpg" /> <img width="6720" height="4480" width_o="6720" height_o="4480" data-src="https://freight.cargo.site/t/original/i/fdee0a34f7c689cb6e065166165f455e23c59c868e6dabc69c50ae047959f61e/no_holiday-10.jpg" data-mid="242105657" border="0" src="https://freight.cargo.site/w/1000/i/fdee0a34f7c689cb6e065166165f455e23c59c868e6dabc69c50ae047959f61e/no_holiday-10.jpg" /> Anoushe’ Shojae-Chaghorvand, BAD BEHAVIOR, 2021 acrylic silkscreen ink, cotton shirt, RIT dye <img width="6358" height="4319" width_o="6358" height_o="4319" data-src="https://freight.cargo.site/t/original/i/5ab8164ab64c34d1d177d89ad9fdf7e3a0d7d3248554f780b6cbd7ed85e5c731/no_holiday-41.jpg" data-mid="242105687" border="0" src="https://freight.cargo.site/w/1000/i/5ab8164ab64c34d1d177d89ad9fdf7e3a0d7d3248554f780b6cbd7ed85e5c731/no_holiday-41.jpg" />Andrea McGinty, Welcome Home, 2021 artificial lettuce leaf, tin can, taxidermied yellow jackets, dove decoy, garden gnome, apple cider vinegar bottle, rusty nails, pigmented resin, clothesline, flag pole, cat litter container, cat litter, concrete <img width="3648" height="5472" width_o="3648" height_o="5472" data-src="https://freight.cargo.site/t/original/i/889095b49172c43d7d0426a6bd07e8eebab24720d114d58b80f303cea45a4a03/no_holiday-67.jpg" data-mid="242105721" border="0" src="https://freight.cargo.site/w/1000/i/889095b49172c43d7d0426a6bd07e8eebab24720d114d58b80f303cea45a4a03/no_holiday-67.jpg" /> <img width="6720" height="4480" width_o="6720" height_o="4480" data-src="https://freight.cargo.site/t/original/i/6515bb5dbf85e13cafda2b3f15215c58c326943ecccca5c83be38493d1b0a230/no_holiday-11.jpg" data-mid="242105658" border="0" src="https://freight.cargo.site/w/1000/i/6515bb5dbf85e13cafda2b3f15215c58c326943ecccca5c83be38493d1b0a230/no_holiday-11.jpg" />Ben Dowell, NIB, 2014zinc cast shoebox <img width="6312" height="4292" width_o="6312" height_o="4292" data-src="https://freight.cargo.site/t/original/i/f822c12bafd253bcb08fb89922cb660bc433e21912f805e16700df826f1d121e/no_holiday-27.jpg" data-mid="242105673" border="0" src="https://freight.cargo.site/w/1000/i/f822c12bafd253bcb08fb89922cb660bc433e21912f805e16700df826f1d121e/no_holiday-27.jpg" /> <img width="2706" height="3659" width_o="2706" height_o="3659" data-src="https://freight.cargo.site/t/original/i/c66e54f5a81595758fc6580515aa7db88110df9070b63504ee560de325809fd1/302A8152.jpg" data-mid="242105722" border="0" src="https://freight.cargo.site/w/1000/i/c66e54f5a81595758fc6580515aa7db88110df9070b63504ee560de325809fd1/302A8152.jpg" /> Siera Hyte, sugar bracelets, 2021 sugar, bracelet, dimensions variable <img width="4110" height="5979" width_o="4110" height_o="5979" data-src="https://freight.cargo.site/t/original/i/c82d0248d4279e9750fde4f8a65fd1a75606a925c6ff6fd365d4fc6d6d1e8edf/no_holiday-29.jpg" data-mid="242105675" border="0" src="https://freight.cargo.site/w/1000/i/c82d0248d4279e9750fde4f8a65fd1a75606a925c6ff6fd365d4fc6d6d1e8edf/no_holiday-29.jpg" />Amra Causevic, Model, 2020wood, motorized turntable <img width="4217" height="5848" width_o="4217" height_o="5848" data-src="https://freight.cargo.site/t/original/i/9e18c7a98cc3f58fb6cdaa933cc442927ce244092965ac3d5d84458f4b13bad0/no_holiday-63.jpg" data-mid="242105716" border="0" src="https://freight.cargo.site/w/1000/i/9e18c7a98cc3f58fb6cdaa933cc442927ce244092965ac3d5d84458f4b13bad0/no_holiday-63.jpg" /> <img width="6720" height="4480" width_o="6720" height_o="4480" data-src="https://freight.cargo.site/t/original/i/d35c8c84197be40562fc81c2eaa5315b4d499d000006fba667c4f253a35c767a/no_holiday-18.jpg" data-mid="242105664" border="0" src="https://freight.cargo.site/w/1000/i/d35c8c84197be40562fc81c2eaa5315b4d499d000006fba667c4f253a35c767a/no_holiday-18.jpg" />Trang Tran,&nbsp;Picnic, 2021burnt pine, burt douglas fir&nbsp; <img width="3298" height="2643" width_o="3298" height_o="2643" data-src="https://freight.cargo.site/t/original/i/ead8ccbb5e67933817c44ab5e4054b689f9adbdd494df5b6d439a0fa3ebe18dc/302A7854.jpg" data-mid="242105704" border="0" src="https://freight.cargo.site/w/1000/i/ead8ccbb5e67933817c44ab5e4054b689f9adbdd494df5b6d439a0fa3ebe18dc/302A7854.jpg" /> From left to right:&nbsp;LIPS (Loup Sarion &amp; Charlotte vander Borght)&nbsp;Jug, 2020, ceramic, glaze; Max Lamb, [untitled spoon], 2021, tape; Chang&nbsp;Sujung, two rentals, 2020, alabaster;&nbsp;Isabel Rower, various small plates, 2020- 2021, porcelain, glaze <img width="7612" height="5018" width_o="7612" height_o="5018" data-src="https://freight.cargo.site/t/original/i/7260b8530d9b3ba504dcf5bec315dce186e884cde13ec37b2d73ed9d57141ee1/Untitled_Panorama-2.jpg" data-mid="242105708" border="0" src="https://freight.cargo.site/w/1000/i/7260b8530d9b3ba504dcf5bec315dce186e884cde13ec37b2d73ed9d57141ee1/Untitled_Panorama-2.jpg" /> From left to right:&nbsp;Chen Chen &amp; Kai Williams, Cement filled Budweiser nunchucks, 2011, Budweiser, cement, chain;&nbsp;Max Lamb, Nanocrystalline Copper Utensils, 2010, copper;&nbsp;Walter Mingledorf, plates for poison apples, 2021, lead;&nbsp;Imaan Saatr, magic tape vase, 2020, tape <img width="3394" height="4178" width_o="3394" height_o="4178" data-src="https://freight.cargo.site/t/original/i/dc5dcada1f2f7598ec0e94e6f69fa99475d4b069f7eda8d256797af315aa8b8e/302A7980.jpg" data-mid="242105706" border="0" src="https://freight.cargo.site/w/1000/i/dc5dcada1f2f7598ec0e94e6f69fa99475d4b069f7eda8d256797af315aa8b8e/302A7980.jpg" /> Ellen Pong, ceramic bong [installation view in Newtown Radio], 2021 <img width="6720" height="4480" width_o="6720" height_o="4480" data-src="https://freight.cargo.site/t/original/i/8d5d761a9fcf8b0bef7ffe2312e78ff902b1413f6adb046f58fba9f273d20531/no_holiday-20.jpg" data-mid="242105666" border="0" src="https://freight.cargo.site/w/1000/i/8d5d761a9fcf8b0bef7ffe2312e78ff902b1413f6adb046f58fba9f273d20531/no_holiday-20.jpg" /> Anoushe’ Shojae-Chaghorvand, BAD BEHAVIOR, 2021 acrylic silkscreen ink, cotton shirt, RIT dye <img width="3683" height="5847" width_o="3683" height_o="5847" data-src="https://freight.cargo.site/t/original/i/98bf3ce36ee3380a6bb555281ed99a4fd7f9f98a77cc6632719a58d386deb94d/no_holiday-12.jpg" data-mid="242105659" border="0" src="https://freight.cargo.site/w/1000/i/98bf3ce36ee3380a6bb555281ed99a4fd7f9f98a77cc6632719a58d386deb94d/no_holiday-12.jpg" />Andy Kincaid, Dream home. MVDR wall on island time [installation view in Newtown Radio], 2021 palm tree, birds nest, model cabin, model snake (shortened), silicone, uranium ghost town pottery shard, paracord, bamboo, tape thread <img width="6536" height="4378" width_o="6536" height_o="4378" data-src="https://freight.cargo.site/t/original/i/c71259f3af23a6d3e1496a66e16fc9193b1fc38df015615afff6bf1320dc6429/no_holiday-13s.jpg" data-mid="242105720" border="0" src="https://freight.cargo.site/w/1000/i/c71259f3af23a6d3e1496a66e16fc9193b1fc38df015615afff6bf1320dc6429/no_holiday-13s.jpg" /><img width="3743" height="4810" width_o="3743" height_o="4810" data-src="https://freight.cargo.site/t/original/i/afea52c36b5b8210f27eaa32b5070c02052523c4d989414448221b36ca08e369/no-holiday-66.jpg" data-mid="242105719" border="0" src="https://freight.cargo.site/w/1000/i/afea52c36b5b8210f27eaa32b5070c02052523c4d989414448221b36ca08e369/no-holiday-66.jpg" /> <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/a4f22f987c9f401d4a5f937c2fb2cbad8644273fd4a0c1dffe682f881df84716/1.jpeg" data-mid="242105648" border="0" src="https://freight.cargo.site/w/1000/i/a4f22f987c9f401d4a5f937c2fb2cbad8644273fd4a0c1dffe682f881df84716/1.jpeg" /> “For the first time in my life I slept out in the open air.&nbsp; During the night it rained a little but not enough to wet us to any extent… splendid foreground material for pictures.” Diary of Thomas Moran, Hayden Expedition, Yellowstone An unbuilt dream home: In 1937, Mrs. H set off to build her dream home on a cattle ranch on the Snake River near Wilson, Wyoming.&nbsp; Positioned under the majestic Teton Mountains, the ranch was the largest deed in the area and could produce its own food, water and electricity.&nbsp; For Mrs. H, the ranch was a holiday forever that possessed the ideals of westward expansion and the mathematical sublime.&nbsp; Infatuated with the prevailing International Style, Mrs. H, through a family connection, commissioned architect Philip Goodwin and a Harvard Architecture School graduate student to build the home in the style of Le Corbusier.&nbsp; Bringing harmony to the conditions of a growing industrial landscape, the International Style dream home was a machine.&nbsp; Across America bore the dialectics of the modernist’s standardized blocks that stood in contradistinction to the landscape.&nbsp; At the time, Corbusier was interested in the relationship between ramps and hills; the experience of the ramp was an architectonic promenade; nature was dispossessed.&nbsp; “National parks are a secular society’s sacred places”, and for Mrs. H, this Teton home represented the ideals of an emerging modern life that was spreading across the west uninhibited by the changing topography.&nbsp; Spanning a millstream that branched off of the river, the central feature of this dream home was a dining area that floated above the water with views of the mountains in the distance. &nbsp; The success of her dream home was based on the development of a newly organic -- that is, newly organized -- environment, and emphasized the boundary between human, narration and landscape.&nbsp; After the construction of four concrete piers that would support the dining room above that arm of the Snake River, Mrs. H lost confidence in the young architects and turned to Alfred Barr, the director of MoMA, to find another architect.&nbsp; In 1937, internal divisions within the MoMA board of trustees centered around a debate as to which architect would build the next midtown New York museum space.&nbsp; Barr and Mrs. H supported architect Mies van der Rohe while Abby Rockefeller, a fellow trustee and Wyoming neighbor, supported Philip Goodwin.&nbsp; Since Mrs. H was having troubles with her dream home, Barr suggested bringing Mies onto the project as a way of getting him into the United States.&nbsp; Writing to Mies, Barr noted that “the house would be situated in the mountains of the west.&nbsp; The site is magnificent in its surroundings and the house itself would be fairly large.&nbsp; It would involve certain problems which I think would interest you.” Mies van der Rohe, receiving the letter, realized that the project was an opportunity to escape interwar Germany and join his fellow stylists in the United States; this would be his first trip across the Atlantic.&nbsp; Mies left Germany with $4 in hand to meet Mrs. H in Paris where they boarded the RMS Berengaria for New York and upon arrival embarked on the transcontinental railroad for Wyoming.&nbsp; At the ranch, Mies stayed at the “White Cabin” designed by Philip Goodwin in an International Style that synthesized the lodgepole vernacular of the Teton’s with an all white interior.&nbsp; He shared the cabin with American Gothic painter Grant Wood for several months.&nbsp; The only concession Mies made to the aesthetics of the American West was to use wood to clad the home, for the first and only time in his career. Rather than using the preferred local lodgepole pine, Mies settled on cypress wood that needed to be transported from Louisiana. Mies did choose to use local fieldstone for the ground-level walls, the fireplace and central stairs. By the following March, Mies was aboard the RMS Queen Mary returning to Germany.&nbsp; For two years, Mies attempted to restart the project, but after three rejected schemes, one of which included a redesign at a reduced scale and price, Mrs. H cancelled the construction of the dream house citing “economic reversals.”&nbsp; As the Cypress wood cladding journeyed across the country to Wyoming, the Snake River washed away all but the original four concrete piers.&nbsp; Perhaps it was that the project had doubled in cost, or perhaps it was the flood, but in the end this dream home forced the Modernists together under the mountains of the west. Years later, another dream home, Poker Flats, Grand Teton National Park, Wyoming: Donning cross country ski boots to leave his home as he has for the last six months since snow made the road impassable, artist Andy Kincaid ventured onto that ranch near the Snake River carrying with him a two-part, tin-cured silicone putty.&nbsp; Noticing the two remaining concrete piers standing over the river, Kincaid worked the putty into the facade, taking it’s impression with him.&nbsp; Packing the resulting mold in his suitcase with a second impression from his Poker Flats home, he carried these architectures to Brooklyn and on to International Waters.&nbsp; Kincaid is leaving Wyoming; no holiday is forever. <img width="1200" height="158" width_o="1200" height_o="158" data-src="https://freight.cargo.site/t/original/i/43c1f2629d9f3dfa2e5fd8c87af9412be00c601655bfb4255128b8edd51a297b/Asset-1.png" data-mid="242105649" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/43c1f2629d9f3dfa2e5fd8c87af9412be00c601655bfb4255128b8edd51a297b/Asset-1.png" /> https://internationalwaters.international/SPA-HORIZON Tue, 23 Dec 2025 13:38:42 +0000 INTERNATIONAL WATERS https://internationalwaters.international/SPA-HORIZON Chang Sujung Spa Horizon8.28.2021 - 8.29.2021 <img width="2779" height="3890" width_o="2779" height_o="3890" data-src="https://freight.cargo.site/t/original/i/aae58e0ea9650bc629072d5cd24aa9227659c1aae054457bb815607cf9bc31c2/SpaHorizon-A.jpg" data-mid="242105724" border="0" src="https://freight.cargo.site/w/1000/i/aae58e0ea9650bc629072d5cd24aa9227659c1aae054457bb815607cf9bc31c2/SpaHorizon-A.jpg" /> NADA x Forelands361 Main Street, Catskill, NYChang Sujung's carved alabaster sculptures suggest a value system where objects are recreated in stone but still maintain their original weight. &nbsp;Her new work Spa Horizon imagines the massage table as a phenomenological union of the floor and ceiling.&nbsp; “The massage bed itself (I am talking about the design with the face hole) is a ceiling and at the same time a floor. The massage bed horizontally cuts the vertical direction of space. With my face down, I am looking downwards as if I am the ceiling and at the same time, I am on this platform, the vertical extension of the floor.” &nbsp;- Chang Sujung <img width="1200" height="158" width_o="1200" height_o="158" data-src="https://freight.cargo.site/t/original/i/43c1f2629d9f3dfa2e5fd8c87af9412be00c601655bfb4255128b8edd51a297b/Asset-1.png" data-mid="242105723" border="0" src="https://freight.cargo.site/w/1000/i/43c1f2629d9f3dfa2e5fd8c87af9412be00c601655bfb4255128b8edd51a297b/Asset-1.png" /> https://internationalwaters.international/MAN Tue, 23 Dec 2025 13:38:42 +0000 INTERNATIONAL WATERS https://internationalwaters.international/MAN <img width="2136" height="2671" width_o="2136" height_o="2671" data-src="https://freight.cargo.site/t/original/i/0f6d5b20b60feb5866bc964eeb0406396df550d31805ddf3ae86eb2d0162f45f/HangTenFlyer.jpeg" data-mid="242105727" border="0" src="https://freight.cargo.site/w/1000/i/0f6d5b20b60feb5866bc964eeb0406396df550d31805ddf3ae86eb2d0162f45f/HangTenFlyer.jpeg" /> https://internationalwaters.international/BARK Tue, 23 Dec 2025 13:38:43 +0000 INTERNATIONAL WATERS https://internationalwaters.international/BARK Freddy Villalobos, tarah douglas, Carlos Valladaresthere’s only one way to stop, but I don't sing, I bark10.9.2021 - 11.21.2021 <img width="5944" height="7925" width_o="5944" height_o="7925" data-src="https://freight.cargo.site/t/original/i/a296e125502330fe0a5e058ba0ae6a4a53f4299e149ca0e741f6e03317120a30/IW-IDSIB-INSTALL-6.jpg" data-mid="242105731" border="0" src="https://freight.cargo.site/w/1000/i/a296e125502330fe0a5e058ba0ae6a4a53f4299e149ca0e741f6e03317120a30/IW-IDSIB-INSTALL-6.jpg" /> <img width="7735" height="5853" width_o="7735" height_o="5853" data-src="https://freight.cargo.site/t/original/i/113812b40ed2dd7ed8b7f02a3dc23e164dd15d789b246bf958e52d4167274a8e/IW-IDSIB-INSTALL-2.jpg" data-mid="242105735" 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data-src="https://freight.cargo.site/t/original/i/bd6af443dcc55ac9a82c2fa189797fa4f5da28fce98f8f913aed7c7883793ba2/TW-FV-TD-iknowwhatyoullsay.jpg" data-mid="242105750" border="0" src="https://freight.cargo.site/w/1000/i/bd6af443dcc55ac9a82c2fa189797fa4f5da28fce98f8f913aed7c7883793ba2/TW-FV-TD-iknowwhatyoullsay.jpg" /> <img width="3024" height="3780" width_o="3024" height_o="3780" data-src="https://freight.cargo.site/t/original/i/ec4766f514100841efd35dbc59c1087e354fad34954f47d6411b94501c7120fb/ShowTitle.jpeg" data-mid="242105730" border="0" src="https://freight.cargo.site/w/1000/i/ec4766f514100841efd35dbc59c1087e354fad34954f47d6411b94501c7120fb/ShowTitle.jpeg" /> Freddy Villalobos, tarah douglas, Carlos Valladares Here, now, the dream of un chien on the loo: Two-fifty in the morning, and the blows begin. Dry run for a spaghetti western. Set in crepuscular sepia tones, spurs that tumble into a weed-infested cell, flour, oats pouring into crevices unseen, glass bursting forth from inside pleasure domes where the johns and the whores bury their night shit. The townsfolk: Mrs. Miller in the saloon with her eggs and his slobber pooling on the splintered wood floor, Zeke Washington hopped fresh off the stage with a Jew’s harp, Samson Corey in charge of the pound where some nights they gnaw out each other’s legs, most dawns they nap pillowed in piss and steak blood. An auburnt stench, whipping rain, the sewage river into which sloshed cowboys will fall punched in the throes of desire stoked, sating delayed, some paradise that evolves into a tropical postcard’s mirage — and how hard the sorrow. How unmussed the banker’s anvil. You try to focus, and the scene escapes me. Stumpy laughs in the wings, janitors marking the morals on the floor so the players can better see how to collapse. How to bend. A stubborn jog-in-place, more mystical, more liberatory than if they had cruised forward like on the Southern thru-ways. Inevitably, the cattle-rod emerges. For they refused the Cohere. Some were asked at the scene of the crime what they saw. A few forgot. Most sipped their whiskey, crawled in closer with their furry ones. Almost none, however, thought to knife the king. By the time you read this, the knight will have been reborn. The mothers will brew their lemonade. Mrs. Miller will keep guard, gossip, reveal a relentless nothing. The bandits have long gone. They’ll have left three-dollar bills, tentacles, arms with the cigarettes still attached, two business cards, a severed ball with hair, vomit, smeared mascara from the tornados, our canine incisors. Inward, inward: they parry’d, repelled. Squint with your might, you’ll sense that they left no key, barely a clue. Yet squint, we must. written by Carlos Valladares <img width="1200" height="158" width_o="1200" height_o="158" data-src="https://freight.cargo.site/t/original/i/43c1f2629d9f3dfa2e5fd8c87af9412be00c601655bfb4255128b8edd51a297b/Asset-1.png" data-mid="242105728" border="0" src="https://freight.cargo.site/w/1000/i/43c1f2629d9f3dfa2e5fd8c87af9412be00c601655bfb4255128b8edd51a297b/Asset-1.png" /> Freddy Villalobos received his BA at University of California, Irvine and MFA in Sculpture from the Yale School of Art. He is the recipient of the land’s edge Fellowship and Graduate School Research Fellowship with The Yale Beinecke Rare Book and Manuscript Library. His work has been exhibited nationally and internationally including White Cube’s Tomorrow 2021, Human Resources LA, Vincent Price Museum, as part of Getty’s Pacific Standard Time: LA/LA, and The Underground Museum. tarah douglas received her BFA at the University of Michigan and MFA in Photography at the Yale School of Art. her work has been exhibited nationally and internationally including White Cube’s Tomorrow 2021, Marlborough Gallery, Casemore/Kirkeby, Harlem School of the Arts, Studio Museum of Harlem, the Gallatin at New York University, Project for Empty Space, Newark Arts Festival, and Winter Street Gallery. Carlos Valladares is a writer, critic, and PhD student at Yale University in Film and Art History. His criticism has appeared in the pages of Gagosian Quarterly, the San Francisco Chronicle, n+1, Frieze, Film Comment, Criterion Collection, MUBI, and elsewhere. Film Series The Green Room (1978)/Model Shop (1969)Ako: 16 ans: japonaise (1965)/Baby Boy (2001)Memoirs of a Strangler of Blondes &nbsp; (1969)/Le départ (1967) https://internationalwaters.international/CONTAINER-GARDEN Tue, 23 Dec 2025 13:38:46 +0000 INTERNATIONAL WATERS https://internationalwaters.international/CONTAINER-GARDEN Emily Janowick and Sam Cockrell Container Gardern12.7.2020 - 3.17.2020 <img width="3450" height="2031" width_o="3450" height_o="2031" data-src="https://freight.cargo.site/t/original/i/4f3ba657ed499f81b5f825c72654e7885a737ff1614d6a29b88644f76ff216d4/bone_box_02.jpg" data-mid="242105762" border="0" src="https://freight.cargo.site/w/1000/i/4f3ba657ed499f81b5f825c72654e7885a737ff1614d6a29b88644f76ff216d4/bone_box_02.jpg" /> <img width="6827" height="4480" width_o="6827" height_o="4480" data-src="https://freight.cargo.site/t/original/i/1726817e1f9287172aaea28e1481c8aff5c74cc1428d193c9ecb2b0dc56c7949/fv-1.jpg" data-mid="242105753" border="0" src="https://freight.cargo.site/w/1000/i/1726817e1f9287172aaea28e1481c8aff5c74cc1428d193c9ecb2b0dc56c7949/fv-1.jpg" /> <img width="5935" height="4098" width_o="5935" height_o="4098" data-src="https://freight.cargo.site/t/original/i/4f27ae343e5cf8416f9f1ea89dc99d38426be3f73634082bc3b970f5f721eaa7/fv-73.jpg" data-mid="242105763" border="0" src="https://freight.cargo.site/w/1000/i/4f27ae343e5cf8416f9f1ea89dc99d38426be3f73634082bc3b970f5f721eaa7/fv-73.jpg" /><img width="3908" height="2870" width_o="3908" height_o="2870" data-src="https://freight.cargo.site/t/original/i/0bc4ed9f5649224bb95a512f164cc3d0714102d240a4762ad1aae68613d504dc/fv-9.jpg" data-mid="242105760" border="0" src="https://freight.cargo.site/w/1000/i/0bc4ed9f5649224bb95a512f164cc3d0714102d240a4762ad1aae68613d504dc/fv-9.jpg" /><img width="3924" height="2801" width_o="3924" height_o="2801" data-src="https://freight.cargo.site/t/original/i/33043ccdaffc792aea7b1448fd8fcd2713157bdd0577ccbe2cb88654f9e678c0/fv-8.jpg" data-mid="242105759" border="0" src="https://freight.cargo.site/w/1000/i/33043ccdaffc792aea7b1448fd8fcd2713157bdd0577ccbe2cb88654f9e678c0/fv-8.jpg" /> <img width="5222" height="3777" width_o="5222" height_o="3777" data-src="https://freight.cargo.site/t/original/i/18d29a91bdb6dfcf0bc56f256b5b8aa4b08643b2c3a5b453baf7957355ebb9a9/fv-6.jpg" data-mid="242105757" border="0" src="https://freight.cargo.site/w/1000/i/18d29a91bdb6dfcf0bc56f256b5b8aa4b08643b2c3a5b453baf7957355ebb9a9/fv-6.jpg" /> <img width="2925" height="2296" width_o="2925" height_o="2296" data-src="https://freight.cargo.site/t/original/i/a868403382ddec14b263cdffbf53c3730f0c851bd54e3b7110e389774c7405fc/bone_box_01.jpg" data-mid="242105761" border="0" src="https://freight.cargo.site/w/1000/i/a868403382ddec14b263cdffbf53c3730f0c851bd54e3b7110e389774c7405fc/bone_box_01.jpg" /> <img width="4132" height="6151" width_o="4132" height_o="6151" data-src="https://freight.cargo.site/t/original/i/9798e2c89852170d6395083273e83835ac847b8b867a2c0e5185c45ee5c78fb2/fav-5.jpg" data-mid="242105752" border="0" src="https://freight.cargo.site/w/1000/i/9798e2c89852170d6395083273e83835ac847b8b867a2c0e5185c45ee5c78fb2/fav-5.jpg" /> <img width="2301" height="3150" width_o="2301" height_o="3150" data-src="https://freight.cargo.site/t/original/i/bfd60d80e54525a928378f93ca34738bd3fdc1b891cfd1bc71ff2a53427bccf3/cave_painting.jpg" data-mid="242105764" border="0" src="https://freight.cargo.site/w/1000/i/bfd60d80e54525a928378f93ca34738bd3fdc1b891cfd1bc71ff2a53427bccf3/cave_painting.jpg" /> <img width="1200" height="800" width_o="1200" height_o="800" data-src="https://freight.cargo.site/t/original/i/7b334f115d6812bef9a0c996684609c5bc29c1358fc0a293dafc0a547c70a7e4/flyer2.jpg" data-mid="242105751" border="0" src="https://freight.cargo.site/w/1000/i/7b334f115d6812bef9a0c996684609c5bc29c1358fc0a293dafc0a547c70a7e4/flyer2.jpg" /> For the inaugural exhibition of International Waters, Container Garden brings together the works of Emily Janowick and Sam Cockrell. &nbsp;Janowick and Cockrell’s work uses the container as a metaphor to describe the structure of our constructed natural landscape.&nbsp; The container is defined by its border. For Janowick and Cockrell, the container refers to the womb, the body, the monument, the city… “the tool that brings energy home.” Janowick has produced a 24 foot model of the Washington Monument that lies on its side.&nbsp; Taken from the Egyptian obelisk, the Washington Monument was made to commemorate George Washington and does little to recall the sun god Ra who’s physical form is symbolized by the structure.&nbsp; Falling down the sloping floor of the gallery, Janowick’s obelisk is hollow. Inside the monument, a two-channel video of the artist's father and daughter plays. The videos show both of them having a conversation about beginnings, middles, and endings.&nbsp; Her father is sitting in a plastic box while her daughter is sitting in a bathtub. &nbsp;The dialogue is taken from the last scene of the 1998 film Hope Floats. &nbsp;“We don’t just gather the physical, we narrate our world through the stories we carry. It’s how we build history. How we tell our stories fundamentally changes who we are and how we think of ourselves. We are like Matryoshka, vessels within vessels, carrying stories, culture, genetic material and cellulite.” &nbsp;The monument for Janowick is always changing. Its meaning is tied to the ruling class and therefore can change with history. As a container, the architecture of the monument is a vessel for content -- but a poor one. “Containers can serve their function only if they change more slowly than their contents.” &nbsp;The combination of Janowick’s intrapersonal narrative with a nationalistic mythology suggests that monuments are forever in flux; they are objects determined by form moreso than content. &nbsp; Taking inspiration from “that bullshit minimalist [Josef Albers]”, Sam Cockrell calls attention to Uhaul Trucking Venture Across America and Canada SuperGraphics ad campaign.&nbsp; SuperGraphics, seen on the side of Uhaul trucks, each describe a different anecdote for all of the states and provinces of North America.&nbsp; For Cockrell, the Uhaul truck is an icon for art handling and the standardization of mobility. The SuperGraphics provide an iconoclastic narration of the physical landscape that they allow anyone to conquer with possessions in tow.&nbsp; As an object, the Uhaul is inscribed with the aesthetics of the natural world while its contents are hidden under layers of SuperGraphics. A vast network has been stretched across the natural landscape to allow for an unencumbered free-flow of commodities across land and sea.&nbsp; The Uhaul allows anyone to access the vast network with the same aesthetic principles of a human-user-interface. &nbsp; Containers contain containers.&nbsp; Although the container outwardly is the holder of content, perhaps the greater dissemination of content comes from the container itself. &nbsp; “The hero as bottle, a stringent reevaluation.&nbsp; I now propose the bottle as hero. Not just the bottle of gin or wine, but bottle in its older sense of container in general, a thing that holds something else.” 1. Le Guin, Ursula K. The Carrier Bag Theory of Fiction. 1986.2. Mumford, Lewis. The City in History. 1968.3. Janowick, Emily. Fear Not the Harsh Winter. MFA thesis, Hunter College The City University of New York, 2019. https://internationalwaters.international/RECOIL Tue, 23 Dec 2025 13:38:47 +0000 INTERNATIONAL WATERS https://internationalwaters.international/RECOIL Cudelice Brazelton IV and Dozie Kanu Recoil 12.5.2020 - 1.15.2021 <img width="1800" height="1355" width_o="1800" height_o="1355" data-src="https://freight.cargo.site/t/original/i/9586d60762f27d11fe20ca2a95ac7f38d95e31a221555a62ac4fa194b105609d/Install-09.jpg" data-mid="242105769" border="0" src="https://freight.cargo.site/w/1000/i/9586d60762f27d11fe20ca2a95ac7f38d95e31a221555a62ac4fa194b105609d/Install-09.jpg" /> <img width="1800" height="1404" width_o="1800" height_o="1404" data-src="https://freight.cargo.site/t/original/i/e40312a155e5366afe3af6ef297d290773056620d9197d29b74211d538899750/Install-12.jpg" data-mid="242105771" border="0" src="https://freight.cargo.site/w/1000/i/e40312a155e5366afe3af6ef297d290773056620d9197d29b74211d538899750/Install-12.jpg" /><img width="1600" height="1200" width_o="1600" height_o="1200" data-src="https://freight.cargo.site/t/original/i/2b4f1a1300ac18b03d979d4b128bebc276b7ad13f1d21280c9eab1791853d5dd/Install-11.jpg" data-mid="242105770" border="0" src="https://freight.cargo.site/w/1000/i/2b4f1a1300ac18b03d979d4b128bebc276b7ad13f1d21280c9eab1791853d5dd/Install-11.jpg" /> <img width="1600" height="1200" width_o="1600" height_o="1200" data-src="https://freight.cargo.site/t/original/i/f901f284a177b03bed1fda67704dfc282ab2bc8ebba7baa887593a708dec1afb/Install-10-open-door.jpg" data-mid="242105784" border="0" src="https://freight.cargo.site/w/1000/i/f901f284a177b03bed1fda67704dfc282ab2bc8ebba7baa887593a708dec1afb/Install-10-open-door.jpg" /><img width="1600" height="1200" width_o="1600" height_o="1200" data-src="https://freight.cargo.site/t/original/i/f3485c054fda1a121c45482a30335816e0e4258f185fc1f6ab628ca73dc81a56/Install-13.jpg" data-mid="242105785" border="0" src="https://freight.cargo.site/w/1000/i/f3485c054fda1a121c45482a30335816e0e4258f185fc1f6ab628ca73dc81a56/Install-13.jpg" /> <img width="1600" height="1200" width_o="1600" height_o="1200" data-src="https://freight.cargo.site/t/original/i/0a019c3ec9a6adc58c336529b538dad2e6dbe68a38e75b3e649598066e22c6ea/Lord.jpg" data-mid="242105787" border="0" src="https://freight.cargo.site/w/1000/i/0a019c3ec9a6adc58c336529b538dad2e6dbe68a38e75b3e649598066e22c6ea/Lord.jpg" /> Cudelice Brazelton IV, Lord, 2020inkjet print, steel <img width="1557" height="1200" width_o="1557" height_o="1200" data-src="https://freight.cargo.site/t/original/i/17f1e4c17fb69126631da5be579af476d13822e3220e154b24510afa7fe899d7/Lord-angle.jpg" data-mid="242105786" border="0" src="https://freight.cargo.site/w/1000/i/17f1e4c17fb69126631da5be579af476d13822e3220e154b24510afa7fe899d7/Lord-angle.jpg" /> <img width="1600" height="1200" width_o="1600" height_o="1200" data-src="https://freight.cargo.site/t/original/i/75959ccd5fa57c31cba3424adf541a3137c274cb349a3b0d8d463390dcb27bdf/Incomplete-Burglary-view-01.jpg" data-mid="242105767" border="0" src="https://freight.cargo.site/w/1000/i/75959ccd5fa57c31cba3424adf541a3137c274cb349a3b0d8d463390dcb27bdf/Incomplete-Burglary-view-01.jpg" />Cudelice Brazelton IV, Incomplete Burglar, 2020aluminum, electrical tape, paper, acrylic, thread, steel, synthetic leather, screws, nails <img width="1200" height="1600" width_o="1200" height_o="1600" data-src="https://freight.cargo.site/t/original/i/0dbaf491b1278e193dee50bc241a2056ac22b9d9109b84843cfccad49d3fc573/Incomplete-Burglary-view-02.jpg" data-mid="242105775" border="0" src="https://freight.cargo.site/w/1000/i/0dbaf491b1278e193dee50bc241a2056ac22b9d9109b84843cfccad49d3fc573/Incomplete-Burglary-view-02.jpg" /> <img width="1600" height="1200" width_o="1600" height_o="1200" data-src="https://freight.cargo.site/t/original/i/43a08d1e7d3d48ce4948c326309f2ae98d3c1317a1f29f2e2ca6cbecbaa61206/Rasberry-view-01.jpg" data-mid="242105788" border="0" src="https://freight.cargo.site/w/1000/i/43a08d1e7d3d48ce4948c326309f2ae98d3c1317a1f29f2e2ca6cbecbaa61206/Rasberry-view-01.jpg" />Dozie Kanu, raspberry data chamber worthy with chest (type seat), 2020raspberry pi, video, steel wire, found toddler chair frame, found iron, torso armour <img width="1600" height="1200" width_o="1600" height_o="1200" data-src="https://freight.cargo.site/t/original/i/ebd4cb0787fb9ed6f9aa7e6ca5086890a61a375781c1a100badb47059767971e/Rasberry-view-02.jpg" data-mid="242105789" border="0" src="https://freight.cargo.site/w/1000/i/ebd4cb0787fb9ed6f9aa7e6ca5086890a61a375781c1a100badb47059767971e/Rasberry-view-02.jpg" /><img width="1600" height="1200" width_o="1600" height_o="1200" data-src="https://freight.cargo.site/t/original/i/72bbaa30a571e72090c72b291b3a8c37dcb41e3bdce8bff251d132fdd7875ba8/Rasberry-view-03.jpg" data-mid="242105790" border="0" src="https://freight.cargo.site/w/1000/i/72bbaa30a571e72090c72b291b3a8c37dcb41e3bdce8bff251d132fdd7875ba8/Rasberry-view-03.jpg" /> <img width="1600" height="1200" width_o="1600" height_o="1200" data-src="https://freight.cargo.site/t/original/i/131f77dfd6bb0c459e4516d801b65b458fc500e7dc0b79cd471e22d156538f93/XV-view-01.jpg" data-mid="242105797" border="0" src="https://freight.cargo.site/w/1000/i/131f77dfd6bb0c459e4516d801b65b458fc500e7dc0b79cd471e22d156538f93/XV-view-01.jpg" />Dozie Kanu, Chair [ xv ], 2020automatic bottle filling machine, bulldozer tooth, steel, melted lead, powder coat with sgraffito, and sandblast <img width="1581" height="1200" width_o="1581" height_o="1200" data-src="https://freight.cargo.site/t/original/i/75f6336329850e01d6638214a7c392eed1714698bc5aa920eacfd837f7175cd1/XV-view-03.jpg" data-mid="242105798" border="0" src="https://freight.cargo.site/w/1000/i/75f6336329850e01d6638214a7c392eed1714698bc5aa920eacfd837f7175cd1/XV-view-03.jpg" /> <img width="1600" height="1200" width_o="1600" height_o="1200" data-src="https://freight.cargo.site/t/original/i/896d1111e71e0a2e3ccec3b895beed18b3796d0559c8c27ac61ab7478e7829d9/XV-detail.jpg" data-mid="242105796" border="0" src="https://freight.cargo.site/w/1000/i/896d1111e71e0a2e3ccec3b895beed18b3796d0559c8c27ac61ab7478e7829d9/XV-detail.jpg" /> <img width="1200" height="1600" width_o="1200" height_o="1600" data-src="https://freight.cargo.site/t/original/i/3bf0dc03d81a404c1d8b1188e376bcedc9eea84392fd0ddeaf5b7925bc612746/Stream-floor.jpg" data-mid="242105772" border="0" src="https://freight.cargo.site/w/1000/i/3bf0dc03d81a404c1d8b1188e376bcedc9eea84392fd0ddeaf5b7925bc612746/Stream-floor.jpg" />Cudelice Brazelton IV, Stream, 2020acrylic, leather, steel, paper, inkjet print on canvas <img width="1600" height="1200" width_o="1600" height_o="1200" data-src="https://freight.cargo.site/t/original/i/565c736b053fa5857d1a52e594ad79c8d40259063d270703f88ff3f563328328/Stream-angle.jpg" data-mid="242105791" border="0" src="https://freight.cargo.site/w/1000/i/565c736b053fa5857d1a52e594ad79c8d40259063d270703f88ff3f563328328/Stream-angle.jpg" /> <img width="1200" height="1459" width_o="1200" height_o="1459" data-src="https://freight.cargo.site/t/original/i/3690e073a8bc92d2660e2fa75db0606bbaf775643563a26558aa39963135b182/Untitled-01.jpg" data-mid="242105794" border="0" src="https://freight.cargo.site/w/1000/i/3690e073a8bc92d2660e2fa75db0606bbaf775643563a26558aa39963135b182/Untitled-01.jpg" /> <img width="1200" height="1453" width_o="1200" height_o="1453" data-src="https://freight.cargo.site/t/original/i/a8f1c5cdf3032b4726b72f4965154c9fccc2d9060c3dd4a062e512f471f24ccc/Untitled-02.jpg" data-mid="242105795" border="0" src="https://freight.cargo.site/w/1000/i/a8f1c5cdf3032b4726b72f4965154c9fccc2d9060c3dd4a062e512f471f24ccc/Untitled-02.jpg" /> Dozie Kanu, Untitled, 2020diptych c-type print, framed <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/bf3ad72b4722f267c8408d85a7c554be475d59ace34f63c54937f3e813b59bfe/IMG_8571.jpeg" data-mid="242105766" border="0" src="https://freight.cargo.site/w/1000/i/bf3ad72b4722f267c8408d85a7c554be475d59ace34f63c54937f3e813b59bfe/IMG_8571.jpeg" /> <img width="1122" height="1496" width_o="1122" height_o="1496" data-src="https://freight.cargo.site/t/original/i/b4c92e89fc9555c3f67211ddd85a879a5928309c7b3e4740044313647a5c8e3a/f4cb2d94-37b3-481c-b349-5a497b68d9d7.jpeg" data-mid="242105765" border="0" src="https://freight.cargo.site/w/1000/i/b4c92e89fc9555c3f67211ddd85a879a5928309c7b3e4740044313647a5c8e3a/f4cb2d94-37b3-481c-b349-5a497b68d9d7.jpeg" /> International Waters is pleased to present Recoil, an exhibition of new works by Cudelice Brazelton IV and Dozie Kanu. The object is reanimated, repeating its movements like a drum.&nbsp; Its volume binds it to the sloping floor.&nbsp; An unforseen utility arises from the work of both artists.&nbsp; Objects cycle through modes of deconstruction and reconstruction in collage and sculpture, emphasising the chassis as a starting point. Powdered technics are recombined with paper and leather.&nbsp; An iron torso clad in armor observes the room, separated from the flaking red panel incised with fresh wounds. Works are defined by their form; the individual pieces like shrapnel have been repositioned as an organized system of physical relations. &nbsp; The image of static moves across the wall, modifying the architecture. Stripped electrical tape acts as a gloss railing. Hardware and images travel along its path.&nbsp; Cut with swift files. Sculptures are anchored to the ground; a repetition of placement.&nbsp; But this oblique platform is designed to accomodate these lasting relations.&nbsp; Histories of lost utility are apparent, but not revealed — their identity travels with the objects like ghosts; filling the room with a certain Hauntology. Repurposed weights inclined for activation. A statement: Brunt force and audible voices usually collide.&nbsp; Always heading toward one another with volume. Once repeated, the volume grows. <img width="1200" height="158" width_o="1200" height_o="158" data-src="https://freight.cargo.site/t/original/i/f7190c06f708efc8fe8e13ee9992d5e0e1d3b24418a57a7bf9ba5c552c0d6dd0/Asset-1.png" data-mid="242105799" border="0" data-scale="97" src="https://freight.cargo.site/w/1000/i/f7190c06f708efc8fe8e13ee9992d5e0e1d3b24418a57a7bf9ba5c552c0d6dd0/Asset-1.png" /> Cudelice Brazelton IV (b.1991) lives and works in Frankfurt Am Main, where he currently attends the Hochschule Für Bildende Künste, Städelschule. Selected solo exhibitions include: Heavy Circuit, Ola Bunker, Frankfurt, Germany, 2020; Violent Groom, Galeria Wschód, Warsaw, 2020.&nbsp; Selected group, two person exhibitions include: Cuerpos, Lodos, Mexico City, 2020; The Decameron, New Release Gallery, New York, 2020; Prune, Shoot The Lobster, New York, 2019; °C, Clearview, London, 2018; Le Colt Est Jeune &amp; Haine At Doc!, Paris, 2018; In Practice: Another Echo, SculptureCenter, Long Island City, 2018; Bounty, Jeffrey Stark, New York, 2017. Dozie Kanu (b. 1993) lives and works in Santarém, Portugal. Selected solo exhibitions include: Owe Deed, One Deep, Project Native Informant, London, 2020; FUNCTION, The Studio Museum in Harlem, New York, 2019; Selected group exhibitions include Enzo Mari, curated by Hans Ulrich Obrist, Triennale Milano, 2020; Crack Up – Crack Down, Ujazdowski Castle Centre for Contemporary Art, Warsaw, 2020; Transformer: A Rebirth of Wonder, 180 The Strand, London, 2019; Midtown, organized by Salon 94 and Maccarone Gallery, Lever House, New York, 2017