Interstice: Flexure
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Cross-dissolve (land-fade) photo transfer on archival masking tape weaving, 16” x 22”, 2021
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Interstice: Flexure (installation view), 2021
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Bias, masking tape, dextrin, and acrylic on canvas, 36’ x 48’, 2020
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Does the tall grass grow there still, photo transfer on archival masking tape weaving, 22” x 30”, 2021
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Adherence II/ Breakage I, projection, photo transfers on masking tape, spackle and gallery paint, varied size, 2021
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Ground, treated masking tape weaving and gesso, approx. 20” x 32”, 2021
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Door, discarded car door with image transfers, 42” x 45”, 2020
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Pass, oil on board, 24” x 32”, 2020
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Shifter i, charcoal on paper, 18” x 24”, 2020
Adherence II/ Breakage I, projection, photo transfers on masking tape, spackle and gallery paint, varied size, 2021
Ember 0, oil on canvas, 24” x 36”, 2020
Susie, photo transfer on archival masking tape weaving, 3’ x 4’, 2021
Terrain, photo transfer on archival masking tape weaving, 32” x 45”, 2021
Currents, photo transfer on archival masking tape weaving, approx. 6’ x 4’ 2021
Wilson Minshall
Interstice : Flexure
March 22-April 8, 2021
George Caleb Bingham Gallery (Columbia, MO)
Interstice: an intervention; a small space that intervenes between things; a break in something continuous
Flexure: the state of being flexed; folding in
Wilson Minshall accumulates information from past historical archives as well as their own recorded memories, materially alters the samples, and pulls forth localized networks of traces from the shrapnel. Their work begins with drawing and uses elements of collage to span varying media such as painting, weaving, video and sound installation. Carefully hand-binding pieces of archival masking tape together, they construct intricate photo-transferred weavings to pursue a metaphorical “hidden fold” of histories within the grounds of their works. These individual strands are scanned and rendered in stop motion videos, which are paired with immersive sound collages in the gallery to activate the space between and across present events and concrete renderings of the past.
Aware of the ever-present gridded organization of history within archives, Wilson takes the stance that excavating or refiguring overlooked pieces of lived experience across time, space and media allows for non-binary navigations of history and notions of identity without privileging grand narratives and surface-level stereotypes. Acknowledging the failure of surfaces to depict the whole of their history, Wilson defies the idea that scattered bodies of information and relations need be reduced to whole, digestible monoliths. Furthering this idea, the drawings and indirect paintings which appear in the exhibition are produced out of the inability for any identity to be fully understood in material.