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Casey Whittier

Exhibition Details

Casey Whittier is interested in an object’s ability to capture a story, to conjure up memories: past, present, future, real, fictional, or in-between. She states, “Everyday interactions between body and object permeates my consciousness. In my experiences of these everyday moments exist other ways of knowing – sensual experiences, symbolic truths, and mnemonic recall.” During the pandemic, Whittier spent a great deal of time at home, as we all. Objects from home began to collide with objects from work; domestic spaces altered; and so did her relationship with those objects. Whittier writes about the objects in her exhibition, “Employing a variety of craft processes executed primarily in clay and glass, each work calls attention to its physical and material properties as well as its making; they call attention to the “other ways of knowing” or other ways of seeing that shape my sense of self, sense of belonging, sense of other. Concerns centered around “homemaking” and the connotations of “women’s work” as it relates to my cultural identity (cis, white, female) is taken to the extreme in the re-creation of a handmade and hand beaded bath towel or a ceramic chainmail replica of the artist’s backpack. These are works of complex devotion to what the objects symbolize: cleanliness, purity, intellectual acuity, an ability to carry heavy loads. Made in archeological materials, touch is fossilized and fixed.  The physical recordings that come through rolling, tearing, squishing, dipping, pushing, pinching, molding and scratching become representations of touch, of thought, of time spent.”