Interstice: Flexure

Interstice: Flexure is the thesis exhibition of Wilson Minshall. This exhibition is comprised of three interspersed bodies of work: a series of masking tape weavings and objects containing image transfers of publicly-sourced documents tracing Wilson’s previously erased Tsalagi ancestors, 2 looping stop-motion video projections extending this archival material through sample-based ambient sound collages titled Breakage I and II , and a selection of indirect paintings and drawings from memory titled Shifters. Minshall accumulates information from historically sourced archives such as census and tribal roll records as well as her own recorded memories and physical traces, materially alters and renders the samples in parts, and pulls forth a decentralized network of traces from the shrapnel. Her approaches towards organization (or constellation) begin with queering gridded and binary structures and expand outwards through varying processes of locality. The only common starting point in her work being the practice of drawing from memory (whether literally or figuratively), these interwoven bodies of work visually remix institutionally and personally mediated accounts of identity through drawing, painting, photography, weaving, installation, sculpture, sound and video. In doing so, she takes the stance that excavating or refiguring overlooked pieces of lived experience across time, space and media allows for a nonbinary navigation of history and identity which doesn’t privilege surface level stereotypes. This accumulative intermedia approach functions as a way of emphasizing peripheral, intersectional relations and critiquing the compulsive presence of oppressive social quantifications which are rooted in settler colonialism and patriarchy.