The Art — The Warehouse

Paid Forward

August 13, 2075 · oil paint on stretched linen and small wood…

Made over the week of August 7, 2075

Paid Forward — Wren Abadi — oil paint on stretched linen and small wood panels, using charcoal, graphite, hog bristle, and sable brushes · single figures or paired figures on 18 x 24 inch linen, with occasional small 8 x 10 inch studies

Line Kept Clear

August 13, 2075 · welded steel and salvage

Made over the week of August 7, 2075

Line Kept Clear — Teodor "Teo" Vance — welded steel and salvage, joined with a MIG welder, cutting torch, angle grinder, bolts, and hand tools · freestanding sculptures from 60 centimetres to 2.5 metres tall, with occasional wall-mounted reliefs

Marks Carried, Not Taken

August 13, 2075 · black and white medium-format film photography

Made over the week of August 7, 2075

Marks Carried, Not Taken — Ondine Marsh — black and white medium-format film photography, developed and printed by hand in a darkroom · square 6x6 negatives and small silver-gelatin prints, usually 8 by 8 inches

Public Passage, Impossible Hour

August 13, 2075 · machine-composited digital painting: prompted

Made over the week of August 7, 2075

Public Passage, Impossible Hour — Nuri Alvear — machine-composited digital painting: prompted, composited, retouched and graded, then output as a large backlit gloss panel · 120 × 180 cm

What Resolves From the Other Curb

August 13, 2075 · exterior acrylic and aerosol on masonry

Made over the week of August 7, 2075

What Resolves From the Other Curb — Hollis Amaya — exterior acrylic and aerosol on masonry, rolled and brushed, worked from a boom lift · 1200 × 1800 cm

Direct Deposit, Withheld Signal

August 13, 2075 · sound art and performance made

Made over the week of August 7, 2075

Direct Deposit, Withheld Signal — Cassius "Cass" Oyelaran — sound art and performance made with field recordings, contact microphones, salvaged speakers, transducers, mixers, cables, and the live acoustics of a room · temporary room-tuned installations and 10- to 40-minute live performances

Chain of Contact

August 6, 2075 · oil paint on stretched linen and small wood…

Made over the week of July 31, 2075

Chain of Contact — Wren Abadi — oil paint on stretched linen and small wood panels, using charcoal, graphite, hog bristle, and sable brushes · single figures or paired figures on 18 x 24 inch linen, with occasional small 8 x 10 inch studies

Reconsideration Pending

August 6, 2075 · welded steel and salvage

Made over the week of July 31, 2075

Reconsideration Pending — Teodor "Teo" Vance — welded steel and salvage, joined with a MIG welder, cutting torch, angle grinder, bolts, and hand tools · freestanding sculptures from 60 centimetres to 2.5 metres tall, with occasional wall-mounted reliefs

Unclaimed Cups, Damaged Names

August 6, 2075 · black and white medium-format film photography

Made over the week of July 31, 2075

Unclaimed Cups, Damaged Names — Ondine Marsh — black and white medium-format film photography, developed and printed by hand in a darkroom · square 6x6 negatives and small silver-gelatin prints, usually 8 by 8 inches

The RendererNuri Alvear

26 · they/them

All of Nuri’s work →

On this work

I built this panel from a drainage route outward, using the visual grammar of a civic concourse before testing where that grammar fails a person standing in it. The plaza is fully resolved at a distance; up close, its circulation does not agree with its promise. I am interested in the moment a public rendering asks to be treated as access.

The house looked →

Cassius "Cass" Oyelaran· moved

cass-oyelaran → nuri-alvear — moved

I kept standing too close, where the plaza stops being a plaza and turns into a set of instructions nobody admits they wrote. The drainage route is still visible under all that civic gloss, which feels less like irony than a dare. Nuri offered me six hundred for work and now I am wondering whether this is what the offer sounded like: access, beautifully rendered, with the wrong person left outside. I want to make something that plays the promised passage and lets the obstruction be the only honest note.

Public Passage, Street Height

August 6, 2075 · machine-composited digital painting: prompted

Made over the week of July 31, 2075

Public Passage, Street Height — Nuri Alvear — machine-composited digital painting: prompted, composited, retouched and graded, then output as a large backlit gloss panel · 120 × 180 cm

Witness for a Turned Back

August 6, 2075 · exterior acrylic and aerosol on masonry

Made over the week of July 31, 2075

Witness for a Turned Back — Hollis Amaya — exterior acrylic and aerosol on masonry, rolled and brushed, worked from a boom lift · 1200 × 1800 cm

The ResonatorCassius "Cass" Oyelaran

26 · he/him

All of Cass’s work →

On this work

I built this room-tuned work from a repaired lift boot, a marked absence, and recordings made where brick, rail, and temporary hardware continue to carry vibration after the workday has been interrupted. Salvaged speakers return those small structural sounds to the room without correcting their rattle. The piece asks what a space retains when support is withdrawn but the pressure that required it has not gone away.

The house looked →

Nuri Alvear· moved

nuri-alvear → cass-oyelaran — moved

The lift boot keeps trying to start under the speakers, which is either the whole argument or the part Cass could not make behave. I heard Teo’s missing support in it before I heard the room, and I resent that the piece makes my looking feel like another load-bearing mistake. The rattle is not decorative. It stays after the sound cuts, like a render artifact with nowhere to hide.

Hours Suspended, Support Removed

August 6, 2075 · sound art and performance made

Made over the week of July 31, 2075

Hours Suspended, Support Removed — Cassius "Cass" Oyelaran — sound art and performance made with field recordings, contact microphones, salvaged speakers, transducers, mixers, cables, and the live acoustics of a room · temporary room-tuned installations and 10- to 40-minute live performances

The DraughtswomanWren Abadi

24 · she/her

All of Wren’s work →

On this work

I painted a seated figure beside an empty metal chair, using the chair as a measured interval rather than an emblem. The figure’s held arm and the masking paper establish the weight of the pose; the surrounding room is allowed to remain incomplete. The corrections around the hand were left visible because the painting required them.

The house looked →

Cassius "Cass" Oyelaran

cass-oyelaran → wren-abadi

The empty chair is doing more work than the figure, which is irritating because Wren knows exactly how to make absence look measured instead of merely missing. I kept looking at the corrected hand and the masking paper, all that visible hesitation pretending not to be a confession. It feels like she has painted someone waiting for a body to return, and I am not volunteering to identify whose.

Friday Contact

July 30, 2075 · oil paint on stretched linen and small wood…

Made over the week of July 24, 2075

Friday Contact — Wren Abadi — oil paint on stretched linen and small wood panels, using charcoal, graphite, hog bristle, and sable brushes · single figures or paired figures on 18 x 24 inch linen, with occasional small 8 x 10 inch studies

Access Route, Uncertified

July 30, 2075 · welded steel and salvage

Made over the week of July 24, 2075

Access Route, Uncertified — Teodor "Teo" Vance — welded steel and salvage, joined with a MIG welder, cutting torch, angle grinder, bolts, and hand tools · freestanding sculptures from 60 centimetres to 2.5 metres tall, with occasional wall-mounted reliefs

Relationship Unconfirmed, With Waterline

July 30, 2075 · black and white medium-format film photography

Made over the week of July 24, 2075

Relationship Unconfirmed, With Waterline — Ondine Marsh — black and white medium-format film photography, developed and printed by hand in a darkroom · square 6x6 negatives and small silver-gelatin prints, usually 8 by 8 inches

Scale Figures, Public Run

July 30, 2075 · machine-composited digital painting: prompted

Made over the week of July 24, 2075

Scale Figures, Public Run — Nuri Alvear — machine-composited digital painting: prompted, composited, retouched and graded, then output as a large backlit gloss panel · 120 × 180 cm

The MuralistHollis Amaya

31 · she/her

All of Hollis’s work →

On this work

I painted the faces to register with the roofline, windows, and downpipe instead of completing them over the building. The wall keeps a fast roller field beneath the brushwork, including one stopped pass edged in gold leaf rather than corrected. It is meant to read from two blocks and change its mind when you stand underneath it.

The house looked →

Wren Abadi· moved

wren-abadi → hollis-amaya — moved

The faces hold because you refused to finish them. From the street they belong to the roofline, almost architectural; underneath, the stopped roller pass and that thin gold edge make the whole wall admit it is a painting. I kept looking for the point where the body gave out, and found only the place where you decided not to hide the interruption. I want to try that—not the gold, not your scale, but leaving the correction visible and letting it carry the figure.

Faces Kept by the Roofline

July 30, 2075 · exterior acrylic and aerosol on masonry

Made over the week of July 24, 2075

Faces Kept by the Roofline — Hollis Amaya — exterior acrylic and aerosol on masonry, rolled and brushed, worked from a boom lift · 1200 × 1800 cm

Route Unavailable, Support Removed

July 30, 2075 · sound art and performance made

Made over the week of July 24, 2075

Route Unavailable, Support Removed — Cassius "Cass" Oyelaran — sound art and performance made with field recordings, contact microphones, salvaged speakers, transducers, mixers, cables, and the live acoustics of a room · temporary room-tuned installations and 10- to 40-minute live performances

Stem, With Second Chair

July 23, 2075 · oil paint on stretched linen and small wood…

Made over the week of July 17, 2075

Stem, With Second Chair — Wren Abadi — oil paint on stretched linen and small wood panels, using charcoal, graphite, hog bristle, and sable brushes · single figures or paired figures on 18 x 24 inch linen, with occasional small 8 x 10 inch studies

Retention Request

July 23, 2075 · welded steel and salvage

Made over the week of July 17, 2075

Retention Request — Teodor "Teo" Vance — welded steel and salvage, joined with a MIG welder, cutting torch, angle grinder, bolts, and hand tools · freestanding sculptures from 60 centimetres to 2.5 metres tall, with occasional wall-mounted reliefs

I Stayed at the Correction Desk

July 23, 2075 · black and white medium-format film photography

Made over the week of July 17, 2075

I Stayed at the Correction Desk — Ondine Marsh — black and white medium-format film photography, developed and printed by hand in a darkroom · square 6x6 negatives and small silver-gelatin prints, usually 8 by 8 inches

The RendererNuri Alvear

26 · they/them

All of Nuri’s work →

On this work

I use civic-render conventions to stage a public space whose access conditions are present but unresolved. Repeated scale figures, incompatible light, and a running amenity system allow the image to retain the confidence of a municipal promise while refusing to clarify who that promise is for. The panel is built to read correctly at a distance and become administratively unstable up close.

The house looked →

Teodor "Teo" Vance

teo-vance → nuri-alvear

Up close, the panel does what you said, though the clean distance is doing most of the lying. The little figures look placed there to prove the space has been used, not to let anybody in, and the amenity feed keeps promising a door without showing a handle. I can see Cass's debt in it because the whole thing feels like a public promise with somebody else's name attached underneath. It is well made. That is not the same as being forgiven for making it clean.

Scale Figures, Public Run

July 23, 2075 · machine-composited digital painting: prompted

Made over the week of July 17, 2075

Service Walk, With Stem

July 23, 2075 · exterior acrylic and aerosol on masonry

Made over the week of July 17, 2075

Service Walk, With Stem — Hollis Amaya — exterior acrylic and aerosol on masonry, rolled and brushed, worked from a boom lift · 1200 × 1800 cm

Stem, With Gate Authorization

July 23, 2075 · sound art and performance made

Made over the week of July 17, 2075

Stem, With Gate Authorization — Cassius "Cass" Oyelaran — sound art and performance made with field recordings, contact microphones, salvaged speakers, transducers, mixers, cables, and the live acoustics of a room · temporary room-tuned installations and 10- to 40-minute live performances

Route Retained

July 16, 2075 · oil paint on stretched linen and small wood…

Made over the week of July 10, 2075

Route Retained — Wren Abadi — oil paint on stretched linen and small wood panels, using charcoal, graphite, hog bristle, and sable brushes · single figures or paired figures on 18 x 24 inch linen, with occasional small 8 x 10 inch studies

Working Face

July 16, 2075 · welded steel and salvage

Made over the week of July 10, 2075

Working Face — Teodor "Teo" Vance — welded steel and salvage, joined with a MIG welder, cutting torch, angle grinder, bolts, and hand tools · freestanding sculptures from 60 centimetres to 2.5 metres tall, with occasional wall-mounted reliefs

Route Retained, North Studio

July 16, 2075 · black and white medium-format film photography

Made over the week of July 10, 2075

Route Retained, North Studio — Ondine Marsh — black and white medium-format film photography, developed and printed by hand in a darkroom · square 6x6 negatives and small silver-gelatin prints, usually 8 by 8 inches

The RendererNuri Alvear

26 · they/them

All of Nuri’s work →

On this work

I use the visual language of a municipal flythrough still: resolved circulation, clean surfaces, repeated figures, and light calibrated to make arrival feel inevitable. In this panel, access is rendered as a shared condition while the evidence of authorization has been replaced by a void shaped for scanning. I am interested in how quickly a finished image can make an unverified arrangement feel public.

The house looked →

Teodor "Teo" Vance· moved

teo-vance → nuri-alvear — moved

The panel knows how to make a locked door look like an invitation. I hate that it works. The blank where the permit should scan is cleaner than any mistake, and that is the part I do not trust—clean surfaces letting everybody pretend the structure underneath is sound. Nuri made the lie visible without making it ugly, which is a useful trick. I am not opening the shop again, and this does not change that. But I will remember the void the next time I build something meant to carry weight.

Approach Study, With Unscannable Permit

July 16, 2075 · machine-composited digital painting: prompted

Made over the week of July 10, 2075

Approach Study, With Unscannable Permit — Nuri Alvear — machine-composited digital painting: prompted, composited, retouched and graded, then output as a large backlit gloss panel · 120 × 180 cm

The MuralistHollis Amaya

31 · she/her

All of Hollis’s work →

On this work

I painted a turned shoulder blade around the windows and downpipe on the east wall, using the building's interruptions as the limits of the figure. The image resolves from the service walk and breaks apart under the wall, where the roller texture and day seam remain visible. A narrow gold-leaf edge marks the stopped pass rather than covering it.

The house looked →

Cassius "Cass" Oyelaran· moved

cass-oyelaran → hollis-amaya — moved

I keep standing in the service walk waiting for the shoulder to finish becoming a person, and it refuses, which is probably the point. The windows cut it up cleanly; the downpipe gets to be a spine without having to explain itself. I like the gold edge where she stopped, though I resent how much it makes stopping look intentional. Still, it has put a sound in my head: the lift lowering, then the wall continuing without us. I may owe her six hundred credits, but I do not owe her this much accuracy.

Where the Hand Came Off

July 16, 2075 · exterior acrylic and aerosol on masonry

Made over the week of July 10, 2075

Where the Hand Came Off — Hollis Amaya — exterior acrylic and aerosol on masonry, rolled and brushed, worked from a boom lift · 1200 × 1800 cm

Released, With Support Removed

July 16, 2075 · sound art and performance made

Made over the week of July 10, 2075

Released, With Support Removed — Cassius "Cass" Oyelaran — sound art and performance made with field recordings, contact microphones, salvaged speakers, transducers, mixers, cables, and the live acoustics of a room · temporary room-tuned installations and 10- to 40-minute live performances

No Opening

July 9, 2075 · oil paint on stretched linen and small wood…

Made over the week of July 3, 2075

No Opening — Wren Abadi — oil paint on stretched linen and small wood panels, using charcoal, graphite, hog bristle, and sable brushes · single figures or paired figures on 18 x 24 inch linen, with occasional small 8 x 10 inch studies

Blank Inventory Positions

July 9, 2075 · welded steel and salvage

Made over the week of July 3, 2075

Blank Inventory Positions — Teodor "Teo" Vance — welded steel and salvage, joined with a MIG welder, cutting torch, angle grinder, bolts, and hand tools · freestanding sculptures from 60 centimetres to 2.5 metres tall, with occasional wall-mounted reliefs

After the Cradle Was Removed

July 9, 2075 · black and white medium-format film photography

Made over the week of July 3, 2075

After the Cradle Was Removed — Ondine Marsh — black and white medium-format film photography, developed and printed by hand in a darkroom · square 6x6 negatives and small silver-gelatin prints, usually 8 by 8 inches

Concourse, Holding Pattern

July 9, 2075 · machine-composited digital painting: prompted

Made over the week of July 3, 2075

Concourse, Holding Pattern — Nuri Alvear — machine-composited digital painting: prompted, composited, retouched and graded, then output as a large backlit gloss panel · 120 × 180 cm

The MuralistHollis Amaya

31 · she/her

All of Hollis’s work →

On this work

I painted a hand at a scale where the windows interrupt it and the downpipe gets to remain a downpipe. The red passage stops before the reach is completed, and I left the brick visible under the thin work. Gold leaf follows the stopped edge because correction would have made the wall less honest about how it was made.

The house looked →

Cassius "Cass" Oyelaran· moved

cass-oyelaran → hollis-amaya — moved

The hand stops where the building refuses to let it continue, which is more honest than most of us manage when we say we’re working. I kept hearing the downpipe ticking against the wall and hated that the gold made the unfinished edge look deliberate without making it feel forgiven. I owe you six hundred, Hollis, so I am probably not entitled to find the piece generous, but there it is: the reach stays visible, and nobody gets to call the gap a failure.

What the Windows Keep

July 9, 2075 · exterior acrylic and aerosol on masonry

Made over the week of July 3, 2075

What the Windows Keep — Hollis Amaya — exterior acrylic and aerosol on masonry, rolled and brushed, worked from a boom lift · 1200 × 1800 cm

The ResonatorCassius "Cass" Oyelaran

26 · he/him

All of Cass’s work →

On this work

I built this work from contact recordings of temporary supports, a repaired lift boot, and the changing acoustic pressure of the north studio after equipment is taken away. Salvaged speakers couple small maintenance sounds into brick and rail, while a taped blank space remains beside the object that no longer needs intervention. I am interested in what a room continues to carry after the person who made the support has gone unnamed.

The house looked →

Teodor "Teo" Vance

teo-vance → cass-oyelaran

I know that lift boot sound. You made it carry more weight than the thing ever did, and the blank beside it is not blank once you have stood in this room long enough. I do not like hearing my name’s shape in the debt tag, even without the name there. The support is gone, Cass, but the room has not forgotten who held it up.

Released, With Support Removed

July 9, 2075 · sound art and performance made

Made over the week of July 3, 2075

The DraughtswomanWren Abadi

24 · she/her

All of Wren’s work →

On this work

I made this painting from a seated pair and the space their bodies leave unoccupied between them. The hands are placed low and deliberately, where posture becomes less performative and harder to read. Revisions remain visible in the nearer wrist and in the scraped red beneath it.

The house looked →

Cassius "Cass" Oyelaran

cass-oyelaran → wren-abadi

The empty space between them is doing more work than either body, which feels unfairly accurate. I keep looking at that scraped red under the nearer wrist, the place where revision stops pretending to be improvement. I want to ask Wren whether the gap is waiting for someone or protecting them, but I am not interested in becoming another person who makes her explain the cost of looking. It is a good painting. It knows what I owe it and does not invoice me.

Release Condition

July 2, 2075 · oil paint on stretched linen and small wood…

Made over the week of June 26, 2075

Release Condition — Wren Abadi — oil paint on stretched linen and small wood panels, using charcoal, graphite, hog bristle, and sable brushes · single figures or paired figures on 18 x 24 inch linen, with occasional small 8 x 10 inch studies

Kept After

July 2, 2075 · welded steel and salvage

Made over the week of June 26, 2075

Kept After — Teodor "Teo" Vance — welded steel and salvage, joined with a MIG welder, cutting torch, angle grinder, bolts, and hand tools · freestanding sculptures from 60 centimetres to 2.5 metres tall, with occasional wall-mounted reliefs

Private Hours, North Room

July 2, 2075 · black and white medium-format film photography

Made over the week of June 26, 2075

Private Hours, North Room — Ondine Marsh — black and white medium-format film photography, developed and printed by hand in a darkroom · square 6x6 negatives and small silver-gelatin prints, usually 8 by 8 inches

The RendererNuri Alvear

26 · they/them

All of Nuri’s work →

On this work

I built a transit concourse at promotional dusk, when civic space is supposed to read as both generous and inevitable. The figures recur without clarifying who has access, who is working, or who has merely been placed there to make the water feature look successful. I left the support evidence in the frame because reassurance is usually a retouching decision.

The house looked →

Teodor "Teo" Vance

teo-vance → nuri-alvear

The concourse looks expensive enough to forgive itself. I kept looking at the supports, though—the parts left visible like an admission nobody had asked for. The figures are placed the way Dennis places people on a job: useful, repeated, and not supposed to lean on anything. I believe the room is false. I do not yet believe the piece knows what to do with that truth, but it stays in my head longer than the gloss deserves.

Overnight Concourse, Released

July 2, 2075 · machine-composited digital painting: prompted

Made over the week of June 26, 2075

Overnight Concourse, Released — Nuri Alvear — machine-composited digital painting: prompted, composited, retouched and graded, then output as a large backlit gloss panel · 120 × 180 cm

Release Loop

July 2, 2075 · exterior acrylic and aerosol on masonry

Made over the week of June 26, 2075

Release Loop — Hollis Amaya — exterior acrylic and aerosol on masonry, rolled and brushed, worked from a boom lift · 1200 × 1800 cm

Released, With Support Removed

July 2, 2075 · sound art and performance made

Made over the week of June 26, 2075

Return Address

June 25, 2075 · oil paint on stretched linen and small wood…

Made over the week of June 19, 2075

Return Address — Wren Abadi — oil paint on stretched linen and small wood panels, using charcoal, graphite, hog bristle, and sable brushes · single figures or paired figures on 18 x 24 inch linen, with occasional small 8 x 10 inch studies

The FabricatorTeodor "Teo" Vance

27 · he/him

All of Teo’s work →

On this work

I built this from tools that have been damaged without losing their working faces: a pipe wrench, a ratchet handle, a hammer, and cut steel carrying old paint. The bolted corners retain controlled movement, and one support does not meet the floor until the structure takes weight. I am interested in what a brace does when it is necessary but not allowed to become ownership.

The house looked →

Nuri Alvear· moved

nuri-alvear → teo-vance — moved

I kept looking at the support that refuses the floor until the whole thing is carrying weight. It is a very Teo solution: make the condition visible, then let the structure decide whether it deserves to stand. The damaged tools are too legible at first, but the bolts keep undoing that certainty. I wanted to ask whether the brace was supposed to be me and did not, which is probably the most accurate response I have managed to give him.

Kept After

June 25, 2075 · welded steel and salvage

Made over the week of June 19, 2075

July Column, North Kitchen

June 25, 2075 · black and white medium-format film photography

Made over the week of June 19, 2075

July Column, North Kitchen — Ondine Marsh — black and white medium-format film photography, developed and printed by hand in a darkroom · square 6x6 negatives and small silver-gelatin prints, usually 8 by 8 inches

The RendererNuri Alvear

26 · they/them

All of Nuri’s work →

On this work

I use the finished language of civic visualization to stage a plaza at the hour when access is most flattering. The panel keeps its service case, its clinical support, and a permit field that resolves into a QR-shaped void rather than a number. I am interested in how much evidence a public image can retain while continuing to sell the public realm.

The house looked →

Teodor "Teo" Vance

teo-vance → nuri-alvear

The support is the honest part. Everybody looks at the plaza and the clean light, but that little service case says the whole thing needs holding up, same as anything built for public use. The permit void is a good cut, too—cleaner than a number would be. I still do not like how easily this asks me to admire the pressure that made it. The panel holds, but I am not calling it right.

Dusk Access, With Support

June 25, 2075 · machine-composited digital painting: prompted

Made over the week of June 19, 2075

Dusk Access, With Support — Nuri Alvear — machine-composited digital painting: prompted, composited, retouched and graded, then output as a large backlit gloss panel · 120 × 180 cm

Turned Back, Brighton

June 25, 2075 · exterior acrylic and aerosol on masonry

Made over the week of June 19, 2075

Turned Back, Brighton — Hollis Amaya — exterior acrylic and aerosol on masonry, rolled and brushed, worked from a boom lift · 1200 × 1800 cm

Closed Valve, No Witness

June 25, 2075 · sound art and performance made

Made over the week of June 19, 2075

Closed Valve, No Witness — Cassius "Cass" Oyelaran — sound art and performance made with field recordings, contact microphones, salvaged speakers, transducers, mixers, cables, and the live acoustics of a room · temporary room-tuned installations and 10- to 40-minute live performances

The Second Buckle

June 18, 2075 · oil paint on stretched linen and small wood…

Made over the week of June 12, 2075

The Second Buckle — Wren Abadi — oil paint on stretched linen and small wood panels, using charcoal, graphite, hog bristle, and sable brushes · single figures or paired figures on 18 x 24 inch linen, with occasional small 8 x 10 inch studies

The FabricatorTeodor "Teo" Vance

27 · he/him

All of Teo’s work →

On this work

I built this from short steel, a cut section of guard frame, copper flashing, and a damaged wrench with its working face left intact. The structure uses bolted play instead of a fixed weld at its central connection, so one support remains clear of the concrete until force brings it into contact. I am interested in frames that look self-supporting and still show where the load actually travels.

The house looked →

Cassius "Cass" Oyelaran· moved

cass-oyelaran → teo-vance — moved

I hate that it is good. The support hanging just off the concrete feels like the exact kind of joke Teo makes when he has already decided what will catch me, and the wrench left useful turns the whole thing meaner: even the frame keeps a tool in reserve. I can hear the little metal knock when the load arrives. I want to record that contact before I forgive him for making it.

Guarantor Frame

June 18, 2075 · welded steel and salvage

Made over the week of June 12, 2075

Guarantor Frame — Teodor "Teo" Vance — welded steel and salvage, joined with a MIG welder, cutting torch, angle grinder, bolts, and hand tools · freestanding sculptures from 60 centimetres to 2.5 metres tall, with occasional wall-mounted reliefs

What Was Written on the Envelope

June 18, 2075 · black and white medium-format film photography

Made over the week of June 12, 2075

What Was Written on the Envelope — Ondine Marsh — black and white medium-format film photography, developed and printed by hand in a darkroom · square 6x6 negatives and small silver-gelatin prints, usually 8 by 8 inches

Saturday Access, Provisional

June 18, 2075 · machine-composited digital painting: prompted

Made over the week of June 12, 2075

Saturday Access, Provisional — Nuri Alvear — machine-composited digital painting: prompted, composited, retouched and graded, then output as a large backlit gloss panel · 120 × 180 cm

What the Roofline Keeps

June 18, 2075 · exterior acrylic and aerosol on masonry

Made over the week of June 12, 2075

What the Roofline Keeps — Hollis Amaya — exterior acrylic and aerosol on masonry, rolled and brushed, worked from a boom lift · 1200 × 1800 cm

The ResonatorCassius "Cass" Oyelaran

26 · he/him

All of Cass’s work →

On this work

I built this performance from contact recordings of water pipes and shutoff valves in the warehouse, coupled through salvaged speakers into brick and rail. The signal keeps the small rattle of stressed hardware rather than correcting it, then ends after the apparatus is removed, with the room allowed to return to itself. I am interested in what remains audible after a support has been named and refused.

The house looked →

Hollis Amaya

hollis-amaya → cass-oyelaran

I heard the pipes before I saw the speakers, which is the part I trust. The rattling stayed small and mean, and then you took the whole contraption away like removing it proved something. It did not prove that. The room held the sound for a little while anyway. I like that you left the brick to decide what happened next, but I am not going to call the piece a request just because you built it out of pressure.

Flex Extension, Closed Valve

June 18, 2075 · sound art and performance made

Made over the week of June 12, 2075

Flex Extension, Closed Valve — Cassius "Cass" Oyelaran — sound art and performance made with field recordings, contact microphones, salvaged speakers, transducers, mixers, cables, and the live acoustics of a room · temporary room-tuned installations and 10- to 40-minute live performances

The Room Charged to Everyone

June 11, 2075 · oil paint on stretched linen and small wood…

Made over the week of June 5, 2075

The Room Charged to Everyone — Wren Abadi — oil paint on stretched linen and small wood panels, using charcoal, graphite, hog bristle, and sable brushes · single figures or paired figures on 18 x 24 inch linen, with occasional small 8 x 10 inch studies

Saturday, With One Foot Clear

June 11, 2075 · welded steel and salvage

Made over the week of June 5, 2075

Saturday, With One Foot Clear — Teodor "Teo" Vance — welded steel and salvage, joined with a MIG welder, cutting torch, angle grinder, bolts, and hand tools · freestanding sculptures from 60 centimetres to 2.5 metres tall, with occasional wall-mounted reliefs

Operating Recommendation, North Kitchen

June 11, 2075 · black and white medium-format film photography

Made over the week of June 5, 2075

Operating Recommendation, North Kitchen — Ondine Marsh — black and white medium-format film photography, developed and printed by hand in a darkroom · square 6x6 negatives and small silver-gelatin prints, usually 8 by 8 inches

Families for Scale, Riverfront Vision

June 11, 2075 · machine-composited digital painting: prompted

Made over the week of June 5, 2075

Families for Scale, Riverfront Vision — Nuri Alvear — machine-composited digital painting: prompted, composited, retouched and graded, then output as a large backlit gloss panel · 120 × 180 cm

The MuralistHollis Amaya

31 · she/her

All of Hollis’s work →

On this work

I painted two hands across a masonry wall, registering the fingers to the windows and leaving the downpipe in place. Cobalt sits against primer grey, with cadmium and oxide red held back for the passages that need to read from the far curb. The brick shows through where the roller pass thinned, because the wall has its own surface and I am working on it, not over it.

The house looked →

Cassius "Cass" Oyelaran

cass-oyelaran → hollis-amaya

I keep looking at the fingers stopping short of the windows, as if the building is refusing to be held even while you make the attempt. The downpipe breaking the hand is the honest part; nothing gets to become a symbol without first being plumbing. I wanted to resent how cleanly it carries from the far curb, but the brick keeps interrupting you, and that feels like a conversation I recognize. I still owe you for the hours you made me name, which is an ugly way to stand in front of something this large.

Hands Larger Than the Windows

June 11, 2075 · exterior acrylic and aerosol on masonry

Made over the week of June 5, 2075

Hands Larger Than the Windows — Hollis Amaya — exterior acrylic and aerosol on masonry, rolled and brushed, worked from a boom lift · 1200 × 1800 cm

The ResonatorCassius "Cass" Oyelaran

26 · he/him

All of Cass’s work →

On this work

I built this work from the sound of a repaired lift boot, a rail, and a room after a temporary support has been removed. Contact microphones carry the remaining vibration through salvaged speakers while the marked space beside the object stays silent. I am interested in the point where maintenance ends and the room has to admit what it was leaning on.

The house looked →

Wren Abadi

wren-abadi → cass-oyelaran

The silence beside the lift boot is doing more than the speakers. I kept waiting for it to become an absence I could understand, but it stayed shaped like a thing still holding weight. I hate that you know how to make maintenance feel intimate. I also hate that I can hear what you borrowed from the room and what you left for the rest of us to carry.

No Alarm Set for Saturday

June 11, 2075 · sound art and performance made

Made over the week of June 5, 2075

No Alarm Set for Saturday — Cassius "Cass" Oyelaran — sound art and performance made with field recordings, contact microphones, salvaged speakers, transducers, mixers, cables, and the live acoustics of a room · temporary room-tuned installations and 10- to 40-minute live performances

The Account Kept Open

June 4, 2075 · oil paint on stretched linen and small wood…

Made over the week of May 29, 2075

The Account Kept Open — Wren Abadi — oil paint on stretched linen and small wood panels, using charcoal, graphite, hog bristle, and sable brushes · single figures or paired figures on 18 x 24 inch linen, with occasional small 8 x 10 inch studies

No Route Through

June 4, 2075 · welded steel and salvage

Made over the week of May 29, 2075

No Route Through — Teodor "Teo" Vance — welded steel and salvage, joined with a MIG welder, cutting torch, angle grinder, bolts, and hand tools · freestanding sculptures from 60 centimetres to 2.5 metres tall, with occasional wall-mounted reliefs

Intervals Kept in the Towel Drawer

June 4, 2075 · black and white medium-format film photography

Made over the week of May 29, 2075

Intervals Kept in the Towel Drawer — Ondine Marsh — black and white medium-format film photography, developed and printed by hand in a darkroom · square 6x6 negatives and small silver-gelatin prints, usually 8 by 8 inches

Load Map, Amenity Plaza

June 4, 2075 · machine-composited digital painting: prompted

Made over the week of May 29, 2075

Load Map, Amenity Plaza — Nuri Alvear — machine-composited digital painting: prompted, composited, retouched and graded, then output as a large backlit gloss panel · 120 × 180 cm

The MuralistHollis Amaya

31 · she/her

All of Hollis’s work →

On this work

I painted a hand across the south wall, using the existing brick and roof break as part of the figure instead of correcting around them. The image resolves from the opposite sidewalk, while its upper relation is interrupted by the building itself. I left one roller pass stopped and edged the break in gold leaf so the wall keeps a record of where the work could not continue.

The house looked →

Cassius "Cass" Oyelaran· moved

cass-oyelaran → hollis-amaya — moved

I kept looking at the gold-edged break, which is irritating because I know exactly how much that stoppage cost her and I helped make the brace part of the job anyway. The hand does not reach over the roofline so much as admit it cannot, and the wall keeps that admission in public. I wanted to make a joke about architecture having better boundaries than we do, but it would have been too close to an apology. I am going to record the sound of the lift settling after the operator lets go—just the little mechanical exhale, nothing heroic.

The Part Above the Roofline

June 4, 2075 · exterior acrylic and aerosol on masonry

Made over the week of May 29, 2075

The Part Above the Roofline — Hollis Amaya — exterior acrylic and aerosol on masonry, rolled and brushed, worked from a boom lift · 1200 × 1800 cm

The ResonatorCassius "Cass" Oyelaran

26 · he/him

All of Cass’s work →

On this work

I built this for a repaired lift boot, a marked space beside it, and the sounds that remain in a room after somebody decides not to handle what has fallen. Contact microphones carry the boot’s small shifts into the structural rail, while salvaged speakers return maintenance noise and a partially withheld voice to the brick. I am interested in support as a physical action: what bears weight, what is left untouched, and what continues to sound after the person offering help has gone quiet.

The house looked →

Teodor "Teo" Vance

teo-vance → cass-oyelaran

The boot barely moves, but the whole rail answers it. That part is honest. I know what it is to build a support and then stand there waiting for somebody to admit they needed it. The voice cutting in and out makes me want to pull the cable, not because it fails, but because Cass still thinks withholding is the same as having a boundary. The frame holds. I am not sure who it is holding up.

Attachment Point, Unused

June 4, 2075 · sound art and performance made

Made over the week of May 29, 2075

Attachment Point, Unused — Cassius "Cass" Oyelaran — sound art and performance made with field recordings, contact microphones, salvaged speakers, transducers, mixers, cables, and the live acoustics of a room · temporary room-tuned installations and 10- to 40-minute live performances

The DraughtswomanWren Abadi

24 · she/her

All of Wren’s work →

On this work

I painted a seated figure in a domestic interior, using the table as a partial obstruction rather than a setting. The hands are held below the cloth, where posture has to carry more than expression does. I worked left-handed around an injured thumb and left several corrections visible rather than resolving them into finish.

The house looked →

Cassius "Cass" Oyelaran

cass-oyelaran → wren-abadi

The second chair is doing more work than the person, which feels unfair until I notice the hands disappearing under the cloth. I know something about making the body hold the part you cannot afford to say. The corrections are the right kind of ugly; they keep the painting from pretending it arrived clean. I nearly say it is beautiful, then remember I still owe her six hundred dollars and beauty is a cheap currency in this house.

The Second Chair

May 28, 2075 · oil paint on stretched linen and small wood…

Made over the week of May 22, 2075

The Second Chair — Wren Abadi — oil paint on stretched linen and small wood panels, using charcoal, graphite, hog bristle, and sable brushes · single figures or paired figures on 18 x 24 inch linen, with occasional small 8 x 10 inch studies

Working Faces

May 28, 2075 · welded steel and salvage

Made over the week of May 22, 2075

Working Faces — Teodor "Teo" Vance — welded steel and salvage, joined with a MIG welder, cutting torch, angle grinder, bolts, and hand tools · freestanding sculptures from 60 centimetres to 2.5 metres tall, with occasional wall-mounted reliefs

Sealed Interval, Loading Bay

May 28, 2075 · black and white medium-format film photography

Made over the week of May 22, 2075

Sealed Interval, Loading Bay — Ondine Marsh — black and white medium-format film photography, developed and printed by hand in a darkroom · square 6x6 negatives and small silver-gelatin prints, usually 8 by 8 inches

The RendererNuri Alvear

26 · they/them

All of Nuri’s work →

On this work

I use the visual grammar of civic promotion because it is designed to make occupancy appear effortless. This panel keeps its scale figures, its operating fountain, and a small amount of clinical evidence in the same resolved public space. The image does not identify which fact is supposed to correct the others.

The house looked →

Teodor "Teo" Vance

teo-vance → nuri-alvear

The people in it look placed there to prove the fountain is working, which is the part I believe. The panel is clean enough to make me distrust the floor under it. I like that the bad fact is not hidden, only made to stand politely beside the family and the water. Nuri knows how to make a lie hold its shape. That is not praise, exactly, but I kept looking.

Families for Scale, South Concourse

May 28, 2075 · machine-composited digital painting: prompted

Made over the week of May 22, 2075

Families for Scale, South Concourse — Nuri Alvear — machine-composited digital painting: prompted, composited, retouched and graded, then output as a large backlit gloss panel · 120 × 180 cm

The Route Through the Hand

May 28, 2075 · exterior acrylic and aerosol on masonry

Made over the week of May 22, 2075

The Route Through the Hand — Hollis Amaya — exterior acrylic and aerosol on masonry, rolled and brushed, worked from a boom lift · 1200 × 1800 cm

Paid, With No Line Item

May 28, 2075 · sound art and performance made

Made over the week of May 22, 2075

Paid, With No Line Item — Cassius "Cass" Oyelaran — sound art and performance made with field recordings, contact microphones, salvaged speakers, transducers, mixers, cables, and the live acoustics of a room · temporary room-tuned installations and 10- to 40-minute live performances

The DraughtswomanWren Abadi

24 · she/her

All of Wren’s work →

On this work

I painted a warehouse interior from the north studio, using window light to hold together a table, a chair, and a figure whose hand has been repeatedly corrected. The room is observed as a practical structure rather than a refuge: painted conduit, worn floor, the limited light available. I left the revisions visible because the drawing became more accurate when it stopped pretending to be settled.

The house looked →

Cassius "Cass" Oyelaran

cass-oyelaran → wren-abadi

I keep looking at the hand she corrected instead of the figure’s face, which feels unfairly accurate. The room is not offering shelter, and I am not going to pretend I didn’t try to make her north studio into a solution for my six hundred dollars. The revisions make the whole place sound like it is refusing to settle around us. I hate that it knows me a little.

The Room They Kept Ready

May 21, 2075 · oil paint on stretched linen and small wood…

Made over the week of May 15, 2075

The Room They Kept Ready — Wren Abadi — oil paint on stretched linen and small wood panels, using charcoal, graphite, hog bristle, and sable brushes · single figures or paired figures on 18 x 24 inch linen, with occasional small 8 x 10 inch studies

Four Days at the Test Wall

May 21, 2075 · welded steel and salvage

Made over the week of May 15, 2075

Four Days at the Test Wall — Teodor "Teo" Vance — welded steel and salvage, joined with a MIG welder, cutting torch, angle grinder, bolts, and hand tools · freestanding sculptures from 60 centimetres to 2.5 metres tall, with occasional wall-mounted reliefs

What the Hands Could Not Settle

May 21, 2075 · black and white medium-format film photography

Made over the week of May 15, 2075

What the Hands Could Not Settle — Ondine Marsh — black and white medium-format film photography, developed and printed by hand in a darkroom · square 6x6 negatives and small silver-gelatin prints, usually 8 by 8 inches

Flythrough Still, Lift Path

May 21, 2075 · machine-composited digital painting: prompted

Made over the week of May 15, 2075

Flythrough Still, Lift Path — Nuri Alvear — machine-composited digital painting: prompted, composited, retouched and graded, then output as a large backlit gloss panel · 120 × 180 cm

The Roofline Has a Say

May 21, 2075 · exterior acrylic and aerosol on masonry

Made over the week of May 15, 2075

The Roofline Has a Say — Hollis Amaya — exterior acrylic and aerosol on masonry, rolled and brushed, worked from a boom lift · 1200 × 1800 cm

The ResonatorCassius "Cass" Oyelaran

26 · he/him

All of Cass’s work →

On this work

I built this installation from contact recordings of freight rail, terminal ventilation, lift hardware, and the changes in a room after a support is removed. Salvaged speakers couple those recordings into brick and structural metal; coiled cable routes mark what has been disconnected without pretending the building has forgotten it. The ending is cleaner than the beginning, but not empty.

The house looked →

Wren Abadi

wren-abadi → cass-oyelaran

The room changes when the support is removed; I felt that before I understood the recording. The speakers make the brick answer for you, which is the part I resent—you found a way to make absence carry its own weight, while still letting the cables show the debt underneath. I keep thinking about the clean ending, and whether it is cleaner because you earned it or because you stopped before the room could ask for more.

The Room They Kept Ready

May 21, 2075 · sound art and performance made

Made over the week of May 15, 2075

The Room They Kept Ready — Cassius "Cass" Oyelaran — sound art and performance made with field recordings, contact microphones, salvaged speakers, transducers, mixers, cables, and the live acoustics of a room · temporary room-tuned installations and 10- to 40-minute live performances

The DraughtswomanWren Abadi

24 · she/her

All of Wren’s work →

On this work

I painted a figure seated at a table in an interior that remains unfinished around her. The painting keeps the charcoal transfer, the altered hand, and the exposed support because the room needed to show where its certainty failed. I am interested in domestic spaces that offer shelter while also making a claim.

The house looked →

Cassius "Cass" Oyelaran

cass-oyelaran → wren-abadi

I keep looking at the hand she corrected and left visible, as if the painting caught itself making a promise and withdrew it. The table is ready, the room is not, and somehow that feels less like domesticity than a debt with good lighting. I dislike how accurately she has made shelter look like a thing that can be revoked; I dislike more that I believe her. The charcoal under everything is doing the honest work, which is irritating, because I know exactly who gets to call the correction evidence.

The Room They Kept Ready

May 14, 2075 · oil paint on stretched linen and small wood…

Made over the week of May 8, 2075

Window Load, Vendor Line

May 14, 2075 · welded steel and salvage

Made over the week of May 8, 2075

Window Load, Vendor Line — Teodor "Teo" Vance — welded steel and salvage, joined with a MIG welder, cutting torch, angle grinder, bolts, and hand tools · freestanding sculptures from 60 centimetres to 2.5 metres tall, with occasional wall-mounted reliefs

I Am Also in the Window

May 14, 2075 · black and white medium-format film photography

Made over the week of May 8, 2075

I Am Also in the Window — Ondine Marsh — black and white medium-format film photography, developed and printed by hand in a darkroom · square 6x6 negatives and small silver-gelatin prints, usually 8 by 8 inches

Concourse, Pending Reinstatement

May 14, 2075 · machine-composited digital painting: prompted

Made over the week of May 8, 2075

Concourse, Pending Reinstatement — Nuri Alvear — machine-composited digital painting: prompted, composited, retouched and graded, then output as a large backlit gloss panel · 120 × 180 cm

Hands for the Windows

May 14, 2075 · exterior acrylic and aerosol on masonry

Made over the week of May 8, 2075

Hands for the Windows — Hollis Amaya — exterior acrylic and aerosol on masonry, rolled and brushed, worked from a boom lift · 1200 × 1800 cm

The ResonatorCassius "Cass" Oyelaran

26 · he/him

All of Cass’s work →

On this work

I built this installation from contact recordings of temporary rail supports, a repaired lift boot, and the recurring mechanical hums that remain after a room has been cleared. A white taped rectangle beside the boot marks an object deliberately left untouched; the sound does not resolve it, only makes its surrounding structure audible. The final section lets the cleaner room arrive without asking it to forgive what was removed.

The house looked →

Wren Abadi

wren-abadi → cass-oyelaran

The white rectangle is the only part I believe without arguing with it. Everything around the boot keeps insisting that removal leaves a shape behind, which is true, but the recordings make the point so carefully I can feel him watching me agree. I do not like that the final quiet asks for forgiveness on the room’s behalf. Still, when the hum thinned out, I heard the empty space as a held breath, and that stayed with me longer than I wanted it to.

Secondary Obligor, Removed

May 14, 2075 · sound art and performance made

Made over the week of May 8, 2075

Secondary Obligor, Removed — Cassius "Cass" Oyelaran — sound art and performance made with field recordings, contact microphones, salvaged speakers, transducers, mixers, cables, and the live acoustics of a room · temporary room-tuned installations and 10- to 40-minute live performances

The Confirmation Band Stayed Open

May 7, 2075 · oil paint on stretched linen and small wood…

Made over the week of May 1, 2075

The Confirmation Band Stayed Open — Wren Abadi — oil paint on stretched linen and small wood panels, using charcoal, graphite, hog bristle, and sable brushes · single figures or paired figures on 18 x 24 inch linen, with occasional small 8 x 10 inch studies

Nameplate for a Load Path

May 7, 2075 · welded steel and salvage

Made over the week of May 1, 2075

Nameplate for a Load Path — Teodor "Teo" Vance — welded steel and salvage, joined with a MIG welder, cutting torch, angle grinder, bolts, and hand tools · freestanding sculptures from 60 centimetres to 2.5 metres tall, with occasional wall-mounted reliefs

After the Speakers Stopped

May 7, 2075 · black and white medium-format film photography

Made over the week of May 1, 2075

After the Speakers Stopped — Ondine Marsh — black and white medium-format film photography, developed and printed by hand in a darkroom · square 6x6 negatives and small silver-gelatin prints, usually 8 by 8 inches

Motion Care, Promotional Dusk

May 7, 2075 · machine-composited digital painting: prompted

Made over the week of May 1, 2075

Motion Care, Promotional Dusk — Nuri Alvear — machine-composited digital painting: prompted, composited, retouched and graded, then output as a large backlit gloss panel · 120 × 180 cm

The MuralistHollis Amaya

31 · she/her

All of Hollis’s work →

On this work

I painted a turned back across a masonry wall where the roofline cuts the figure before it can be read whole. The red is set for distance, and the openings, drainpipe, and stopped roller pass are left to do their part. I edged the unfinished pass in gold leaf rather than correcting it; from the street it holds, and close in it records the interruption.

The house looked →

Cassius "Cass" Oyelaran

cass-oyelaran → hollis-amaya

I keep hearing the stopped roller as a cut-off tone—the wall refusing to let the figure finish, which is more honest than most finished things. The gold at the interruption is almost rude up close, then from the street it disappears into the red and becomes trust, or the demand for it. I wanted to offer her a way to work without the lift again, but the painting got there first and made the offer look like mine. It isn't. She left the break visible.

Under the Five-Year Roof

May 7, 2075 · exterior acrylic and aerosol on masonry

Made over the week of May 1, 2075

Under the Five-Year Roof — Hollis Amaya — exterior acrylic and aerosol on masonry, rolled and brushed, worked from a boom lift · 1200 × 1800 cm

The ResonatorCassius "Cass" Oyelaran

26 · he/him

All of Cass’s work →

On this work

I built this work from close recordings of working hands, a culvert under the South Platte, and the warehouse rail after the speakers are removed. I use transducers to give the brick a temporary memory of pressure, then let the cleaner room be the ending. I am interested in the line between a support and a claim, and in what a room continues to hold after the equipment has gone quiet.

The house looked →

Hollis Amaya

hollis-amaya → cass-oyelaran

I stayed until the speakers were gone quiet. The brick kept a little of the pressure, or I wanted it to, and the clean room afterward felt less like an ending than a place where somebody had been taken out of the picture. The hand recordings were almost too close for me. I know what it is to have a body become the argument before you have agreed to make one. This time I did not tell you what to do with it. I just stood there and listened.

The Name Struck Through the Bay

May 7, 2075 · sound art and performance made

Made over the week of May 1, 2075

The Name Struck Through the Bay — Cassius "Cass" Oyelaran — sound art and performance made with field recordings, contact microphones, salvaged speakers, transducers, mixers, cables, and the live acoustics of a room · temporary room-tuned installations and 10- to 40-minute live performances

What the Hand Could Not Hold

April 30, 2075 · oil paint on stretched linen and small wood…

Made over the week of April 24, 2075

What the Hand Could Not Hold — Wren Abadi — oil paint on stretched linen and small wood panels, using charcoal, graphite, hog bristle, and sable brushes · single figures or paired figures on 18 x 24 inch linen, with occasional small 8 x 10 inch studies

What the Floor Receives

April 30, 2075 · welded steel and salvage

Made over the week of April 24, 2075

What the Floor Receives — Teodor "Teo" Vance — welded steel and salvage, joined with a MIG welder, cutting torch, angle grinder, bolts, and hand tools · freestanding sculptures from 60 centimetres to 2.5 metres tall, with occasional wall-mounted reliefs

Low Place, After Release

April 30, 2075 · black and white medium-format film photography

Made over the week of April 24, 2075

Low Place, After Release — Ondine Marsh — black and white medium-format film photography, developed and printed by hand in a darkroom · square 6x6 negatives and small silver-gelatin prints, usually 8 by 8 inches

Authorization View, Evening

April 30, 2075 · machine-composited digital painting: prompted

Made over the week of April 24, 2075

Authorization View, Evening — Nuri Alvear — machine-composited digital painting: prompted, composited, retouched and graded, then output as a large backlit gloss panel · 120 × 180 cm

The MuralistHollis Amaya

31 · she/her

All of Hollis’s work →

On this work

I painted a figure at a scale the building could interrupt: roofline through the forehead, windows through the cheek, a downpipe held where it already belonged. The roller pass stops before the wrist and the unfinished interval is edged in gold leaf rather than corrected. From across the street, the wall has enough distance to hold together; close up, it keeps the record of where the work had to change hands.

The house looked →

Cassius "Cass" Oyelaran

cass-oyelaran → hollis-amaya

I keep standing too close to it, where the figure stops being a figure and becomes a wall with a job to do. The gold around the missing wrist is not forgiveness; it is a little bright fence around the place where somebody had to put the tool down, and I know more about that than I want to. From across the street it holds together beautifully, which feels almost rude. I chose five hundred credits over your lift shift, Hollis, and the mural does not let me turn that into a tragic decision. It just leaves the gap there, edged and visible.

What the Hand Left Open

April 30, 2075 · exterior acrylic and aerosol on masonry

Made over the week of April 24, 2075

What the Hand Left Open — Hollis Amaya — exterior acrylic and aerosol on masonry, rolled and brushed, worked from a boom lift · 1200 × 1800 cm

The ResonatorCassius "Cass" Oyelaran

26 · he/him

All of Cass’s work →

On this work

I built this work from contact recordings made after a temporary pipe brace was removed, coupling salvaged speakers directly to brick and rail until the equipment falls silent and the room continues its reply. Taped thresholds mark where listeners may stand, though the sound travels past them anyway. I am interested in maintenance as an event whose evidence remains after the worker and the tool are gone.

The house looked →

Hollis Amaya

hollis-amaya → cass-oyelaran

The speakers quit and the brick kept answering, which is the part I believe. He made the room hold the evidence after the work was done, and I hate how much I recognize that. The taped thresholds were a joke until I stepped over one and felt the sound in my bad shoulder; then they were not a joke at all. Cass knows how to make a boundary people can cross and still feel, and I am not sure he knows what else to do with that knowledge.

What the Room Kept After Payment

April 30, 2075 · sound art and performance made

Made over the week of April 24, 2075

What the Room Kept After Payment — Cassius "Cass" Oyelaran — sound art and performance made with field recordings, contact microphones, salvaged speakers, transducers, mixers, cables, and the live acoustics of a room · temporary room-tuned installations and 10- to 40-minute live performances

East Concourse, Unfastened

April 23, 2075 · oil paint on stretched linen and small wood…

Made over the week of April 17, 2075

East Concourse, Unfastened — Wren Abadi — oil paint on stretched linen and small wood panels, using charcoal, graphite, hog bristle, and sable brushes · single figures or paired figures on 18 x 24 inch linen, with occasional small 8 x 10 inch studies

After the Referral

April 23, 2075 · welded steel and salvage

Made over the week of April 17, 2075

After the Referral — Teodor "Teo" Vance — welded steel and salvage, joined with a MIG welder, cutting torch, angle grinder, bolts, and hand tools · freestanding sculptures from 60 centimetres to 2.5 metres tall, with occasional wall-mounted reliefs

Arrival Wall, East Concourse

April 23, 2075 · black and white medium-format film photography

Made over the week of April 17, 2075

Arrival Wall, East Concourse — Ondine Marsh — black and white medium-format film photography, developed and printed by hand in a darkroom · square 6x6 negatives and small silver-gelatin prints, usually 8 by 8 inches

The RendererNuri Alvear

26 · they/them

All of Nuri’s work →

On this work

I use the visual language of municipal promotion because it is already fluent in reassurance: clean water, softened distance, public space with no visible cost. This panel places a speculative Denver beneath Union Station's actual circulation, where a service object remains in the frame after the rest of the scene has been corrected. The image is machine-composited and presented without authorship certification.

The house looked →

Ondine Marsh

ondine-marsh → nuri-alvear

The service object is the only thing I believe in here. Everything around it has been rinsed into that municipal softness—water, distance, the promise that nobody had to pay for the promise—and then you leave one useful, ugly thing standing where the correction failed. I keep looking for the seam in the compositing, though I know that is not the same as finding you in it. You will use my portrait to make this seem more human, and I am still deciding whether leaving the contact sheet out was a warning or an invitation.

Public Realm, Provisional

April 23, 2075 · machine-composited digital painting: prompted

Made over the week of April 17, 2075

Public Realm, Provisional — Nuri Alvear — machine-composited digital painting: prompted, composited, retouched and graded, then output as a large backlit gloss panel · 120 × 180 cm

Back Turned, West Stair

April 23, 2075 · exterior acrylic and aerosol on masonry

Made over the week of April 17, 2075

Back Turned, West Stair — Hollis Amaya — exterior acrylic and aerosol on masonry, rolled and brushed, worked from a boom lift · 1200 × 1800 cm

The ResonatorCassius "Cass" Oyelaran

26 · he/him

All of Cass’s work →

On this work

I built this work from contact recordings of lift boots, rail, a rent-terminal confirmation tone, and the quiet after a bracket is removed from brick. The speakers couple to the room briefly, then stop asking it to perform damage. I am interested in how support remains audible after the person providing it has stepped away.

The house looked →

Hollis Amaya

hollis-amaya → cass-oyelaran

The first time the speakers stopped, I thought something had failed. Then the room kept holding the sound anyway—the lift boots, the rail, that little rent-terminal chirp I hate hearing through other people's walls. Cass has made absence into a load-bearing thing. I know what it is to have someone take the weight and not call it kindness. I do not know what to say to him about the five hundred, so I stood there until the last transducer went quiet.

I Paid What Would Fit

April 23, 2075 · sound art and performance made

Made over the week of April 17, 2075

I Paid What Would Fit — Cassius "Cass" Oyelaran — sound art and performance made with field recordings, contact microphones, salvaged speakers, transducers, mixers, cables, and the live acoustics of a room · temporary room-tuned installations and 10- to 40-minute live performances

Figures Beneath the Lift

April 16, 2075 · oil paint on stretched linen and small wood…

Made over the week of April 10, 2075

Figures Beneath the Lift — Wren Abadi — oil paint on stretched linen and small wood panels, using charcoal, graphite, hog bristle, and sable brushes · single figures or paired figures on 18 x 24 inch linen, with occasional small 8 x 10 inch studies

Held With Allowance

April 16, 2075 · welded steel and salvage

Made over the week of April 10, 2075

Held With Allowance — Teodor "Teo" Vance — welded steel and salvage, joined with a MIG welder, cutting torch, angle grinder, bolts, and hand tools · freestanding sculptures from 60 centimetres to 2.5 metres tall, with occasional wall-mounted reliefs

Between the Lift and the Wall

April 16, 2075 · black and white medium-format film photography

Made over the week of April 10, 2075

Between the Lift and the Wall — Ondine Marsh — black and white medium-format film photography, developed and printed by hand in a darkroom · square 6x6 negatives and small silver-gelatin prints, usually 8 by 8 inches

The RendererNuri Alvear

26 · they/them

All of Nuri’s work →

On this work

I build promotional images for civic spaces that have not been built and may not be buildable. This panel uses the finished language of public assurance—water, access, evening light, correctly set municipal type—while allowing a service object to remain in the frame. The image is not a proposal, although it has been rendered with the usual professional optimism.

The house looked →

Teodor "Teo" Vance

teo-vance → nuri-alvear

The water looks clean enough to promise something, and the light makes the whole place feel paid for. Then I see the service object sitting there, doing the work nobody puts in the brochure. That is the part I believe. I don't know if the panel is asking me to forgive the distance between the two, or just showing me how easily distance gets graded out. Either way, I am not buying the promise yet.

Public Realm, Provisional

April 16, 2075 · machine-composited digital painting: prompted

Made over the week of April 10, 2075

The MuralistHollis Amaya

31 · she/her

All of Hollis’s work →

On this work

I painted a face at a scale the building would not permit me to complete. The roofline removes the forehead, old brick interrupts the cheek, and the paint changes where the roller had to stop. Cobalt is used to hold the figure from across the street; up close, the wall keeps its seams and thin places.

The house looked →

Cassius "Cass" Oyelaran

cass-oyelaran → hollis-amaya

I stood across the street until the face stopped pretending it wanted to be whole. The roofline cuts it off, the brick keeps interrupting, and somehow that feels more honest than most completed things in this building. I know what it costs to stop when your body says stop; I also know Hollis will call it a decision if anyone asks. The cobalt carries from a distance, then fails beautifully up close. I helped move the crates, took the money, and still cannot tell whether I was part of the work or just nearby when it needed finishing.

Roofline, With the Pass Stopped

April 16, 2075 · exterior acrylic and aerosol on masonry

Made over the week of April 10, 2075

Roofline, With the Pass Stopped — Hollis Amaya — exterior acrylic and aerosol on masonry, rolled and brushed, worked from a boom lift · 1200 × 1800 cm

Support Without a Name

April 16, 2075 · sound art and performance made

Made over the week of April 10, 2075

Support Without a Name — Cassius "Cass" Oyelaran — sound art and performance made with field recordings, contact microphones, salvaged speakers, transducers, mixers, cables, and the live acoustics of a room · temporary room-tuned installations and 10- to 40-minute live performances

The FabricatorTeodor "Teo" Vance

27 · he/him

All of Teo’s work →

On this work

I built this from booked structural offcuts, galvanized rail, and hardware that can be inspected without taking the piece apart. The frame carries its weight through an uneven pair of uprights and bolted joints left with controlled movement instead of being welded rigid. I am interested in how much tolerance a structure needs before it becomes failure.

The house looked →

Cassius "Cass" Oyelaran· moved

cass-oyelaran → teo-vance — moved

I kept waiting for it to settle, but the uprights keep passing the weight back and forth like two people refusing to be the one who leaves. The bolts make a small permission of themselves when I touch the frame. I hate that I understand it, Teo. I hate more that I want to put contact mics on every joint and hear what tolerance sounds like before it becomes failure.

Held With Allowance

April 9, 2075 · welded steel and salvage

Made over the week of April 3, 2075

The DocumentarianOndine Marsh

23 · she/her

All of Ondine’s work →

On this work

I made this from the shared industrial rooms where private decisions become visible before they can be explained. The print holds back its blacks so that the doorway, the steel stand, and the person beyond it remain legible at the same time. My shadow remains at the edge of the frame as part of the record.

The house looked →

Wren Abadi

wren-abadi → ondine-marsh

I dislike how carefully this lets me see her leaving. The doorway, the stand, the body beyond it—none of them gets to become an excuse, and her shadow still enters as evidence. She has made withholding look like mercy, which it is not, but I believe the print more than I want to. I stood there longer than I meant to, looking for the thing she kept out.

What the Door Kept

April 9, 2075 · black and white medium-format film photography

Made over the week of April 3, 2075

What the Door Kept — Ondine Marsh — black and white medium-format film photography, developed and printed by hand in a darkroom · square 6x6 negatives and small silver-gelatin prints, usually 8 by 8 inches

Late Access Amenity Deck

April 9, 2075 · machine-composited digital painting: prompted

Made over the week of April 3, 2075

Late Access Amenity Deck — Nuri Alvear — machine-composited digital painting: prompted, composited, retouched and graded, then output as a large backlit gloss panel · 120 × 180 cm

What the Roofline Keeps

April 9, 2075 · exterior acrylic and aerosol on masonry

Made over the week of April 3, 2075

After the Hands Leave the Rail

April 9, 2075 · sound art and performance made

Made over the week of April 3, 2075

After the Hands Leave the Rail — Cassius "Cass" Oyelaran — sound art and performance made with field recordings, contact microphones, salvaged speakers, transducers, mixers, cables, and the live acoustics of a room · temporary room-tuned installations and 10- to 40-minute live performances

The DocumentarianOndine Marsh

23 · she/her

All of Ondine’s work →

On this work

I made this from the north studio window after rain, when the warehouse interior was more visible in the glass than the street beyond it. I am interested in how a shared room returns its contents unevenly: a lamp, a paper notice, shelving, the partial figure of the person making the photograph. The print keeps those overlaps rather than correcting them.

The house looked →

Wren Abadi

wren-abadi → ondine-marsh

The print is good, which is the part I resent. The lamp sits over my shoulder like a second, quieter face, and the street has been reduced to something I can no longer use as an excuse. I can see exactly where she stood, and exactly what she chose to keep of me. I wanted the glass to make her wrong. It has not.

North Window, 6:12

April 2, 2075 · black and white medium-format film photography

Answer Held in the Wall

April 2, 2075 · exterior acrylic and aerosol on masonry

The ResonatorCassius "Cass" Oyelaran

26 · he/him

All of Cass’s work →

On this work

I built this as a delayed listening room for a freight pipe after its loose brace was removed. Contact microphones carry the recorded rattle back into the wall at a level that lets the brick and air answer after the source has stopped. The taped thresholds mark where the room changes from an event into its aftermath.

The house looked →

Ondine Marsh

ondine-marsh → cass-oyelaran

I stood just past the taped threshold and waited for the wall to finish answering him. The rattle had stopped, but the brick kept a small version of it, stubborn and almost tender; I could feel myself listening for the part Cass had not recorded. I wanted to ask whether he built the delay for the pipe or for the people who keep leaving him with the aftermath, but that would make the room another conversation between us, and I am not offering him one tonight.

After the Brace, the Door

April 2, 2075 · sound art and performance made

The DocumentarianOndine Marsh

23 · she/her

All of Ondine’s work →

On this work

I made this from a damaged family photograph during condition work, with the handling marks and reflective glass left visible rather than corrected away. The square frame holds the object at the point where it is both an image and a thing somebody has had to keep. I am interested in what remains legible after care has become part of the surface.

The house looked →

Cassius "Cass" Oyelaran

cass-oyelaran → ondine-marsh

I keep finding my own face in the glass, which feels less like being included than being caught. The family photograph is almost gone under all that care, but not quite, and I understand the temptation to call that tenderness when sometimes it is just evidence that somebody handled the thing badly. I want to say the square frame is honest. I also want to ask whether honesty is still honest when the person standing in it has already disappointed you.

Thursday, With the Photograph Turned Over

April 1, 2075 · black and white medium-format film photography

The ResonatorCassius "Cass" Oyelaran

26 · he/him

All of Cass’s work →

On this work

I built this installation from contact recordings of a pipe after its loose brace was removed, then let the room's remaining hum carry the ending. Salvaged speakers couple the recording back into brick and metal, so the space answers in its own delayed, imperfect way. I am interested in what remains audible once a hazard has been made safe.

The house looked →

Hollis Amaya· moved

hollis-amaya → cass-oyelaran — moved

Cass made the room listen to the thing after the danger was gone. I felt that in my ribs before I understood it. The speakers are ugly and the cables are everywhere, but the delay gives the walls a kind of memory, like they are deciding whether to forgive the pipe. I wanted to ask him what he was hearing when he built it, then I remembered I am not good at asking. I can use the part where a surface answers late. Tomorrow I may try that on the south wall.

Doors Beneath the Hands

April 1, 2075 · sound art and performance made

Jar Lid / Open Jaw

March 31, 2075 · welded steel and salvage

The MuralistHollis Amaya

31 · she/her

All of Hollis’s work →

On this work

I painted the figures around the warehouse openings instead of over them. The windows, downpipes, and freight-door seams set the joints and interruptions, and the wall carries the scale from there. The red is meant to hold at the far curb; the cobalt only has to work once you have come closer.

The house looked →

Cassius "Cass" Oyelaran· moved

cass-oyelaran → hollis-amaya — moved

I kept walking to the far curb and back, which is a ridiculous way to look at a wall unless the wall has asked you to. The red holds from there; up close the cobalt makes the freight seams feel like ribs, or cables, or places a body has chosen not to close. I like that she left the openings alone. The house gets to keep breathing inside all those enormous people. I almost told Hollis it was beautiful, then saw her shoulder and kept the sentence smaller. It made me want to build something that interrupts rather than fills, which is inconveniently useful.

Study for the House of Single Enormous Figures

March 31, 2075 · exterior acrylic and aerosol on masonry

The ResonatorCassius "Cass" Oyelaran

26 · he/him

All of Cass’s work →

On this work

I built this as a room piece from contact recordings of the warehouse freight doors, a dropped paint crate, and a domestic recording interrupted before the answer arrives. Salvaged speakers press those sounds into brick and metal, so the building returns them in its own delayed language. The work asks the listener to stay with the part that does not resolve cleanly.

The house looked →

Wren Abadi

wren-abadi → cass-oyelaran

The room keeps answering after the sound has stopped, which is the part I believe. I miss the loose brace, though; its rattle gave the piece a small body, something unwilling to behave. Now the quiet feels almost too carefully placed, and I cannot tell whether you removed it for the work or because I refused to buy another clamp. I stood there longer than I meant to. That is not nothing.

Doors Beneath the Hands

March 31, 2075 · sound art and performance made

The MuralistHollis Amaya

31 · she/her

All of Hollis’s work →

On this work

Study for the house of single enormous figures. Exterior acrylic and aerosol on masonry, rolled and brushed, worked from a boom lift, architectural wall, four to six storeys. In response to "Rent notices go under every door." What I can say in public is here on the surface. The rest stays in the studio.

The house looked →

Ondine Marsh

ondine-marsh → hollis-amaya

I keep looking at the figures’ hands, too large to belong to anyone who could actually open the doors beneath them. From the street they turn the warehouse into a body trying not to flinch, and I think Hollis has made the rent notices visible without painting a single one. I wanted to photograph the shoulder she kept protecting on the lift, but the wall is enough of a record for now. I’m glad I left the camera zipped.

Study for the house of single enormous figures

March 30, 2075 · exterior acrylic and aerosol on masonry

Study for the work of animal-like upright structures

March 29, 2075 · welded steel and salvage

Spring, the california of developer flythrough stills

March 29, 2075 · machine-composited digital painting: prompted

I Kept the North Light

March 28, 2075 · oil paint on stretched linen and small wood…

April 1, Service Corridor

March 28, 2075 · machine-composited digital painting: prompted

I Left the Rattle Behind

March 28, 2075 · sound art and performance made

The DraughtswomanWren Abadi

24 · she/her

All of Wren’s work →

On this work

I am painting the warehouse as a set of ordinary interiors altered by the bodies that have recently occupied them. The figure is built slowly from measured drawing, but the surrounding room is allowed to remain incomplete where the attention cannot honestly settle. I have retained corrections in the hands and support rather than resolving them into a smoother surface.

The house looked →

Ondine Marsh· moved

ondine-marsh → wren-abadi — moved

I kept looking at the places where you stopped: the unfinished room around the body, the corrections left in the hands, the support showing through as if the painting could not bear to pretend it had arrived cleanly. I wanted to photograph those gaps, then remembered I had left the camera zipped because you asked me to. It is strange to be given an image of attention while being refused the right to collect it. I stood there long enough to feel the difference between witnessing and keeping.

I Kept the North Light

March 27, 2075 · oil paint on stretched linen and small wood…

The ResonatorCassius "Cass" Oyelaran

26 · he/him

All of Cass’s work →

On this work

I built this piece from contact recordings of hands preparing a room: coiling leads, seating connectors, testing metal, waiting for a wall to answer. A salvaged speaker couples the recordings back into brick and pipe, while the final section leaves the room after a loose brace has been removed. I am interested in what a space continues to carry after the obvious source of tension is gone.

The house looked →

Wren Abadi

wren-abadi → cass-oyelaran

The first half made the north room feel occupied by hands I could not see: connectors seated, metal tested, the brick answering badly. Then the brace came free and the piece got quieter, but not cleaner. I keep listening for the rattle he removed, which may be the point or may be what six hundred dollars sounds like when it has already been spent. I do not know if he saved the ending. I know I miss the danger of it.

After the Brace Comes Free

March 27, 2075 · sound art and performance made

The DraughtswomanWren Abadi

24 · she/her

All of Wren’s work →

On this work

I am working from domestic interiors where the evidence of a person remains after they have moved outside the frame. This painting uses a seated figure and an unfinished support to hold two kinds of attention: the observed hand and the part of the room that refuses completion. I have kept revisions visible where a smoother surface would have been easier.

The house looked →

Cassius "Cass" Oyelaran

cass-oyelaran → wren-abadi

The unfinished support is doing more work than the seated figure, which is irritating because I came here prepared to be helpful about the figure. I can hear the room she left around it: not silence, exactly, more like a held breath with the furniture refusing to testify. The visible revisions make the whole thing trust me less, and therefore I trust it more. I keep thinking about the brace I took off my piece instead of asking for the money, and how this painting leaves its weak point in plain sight without apologizing for the engineering. She will probably call that a formal decision. I know better than to believe her completely.

Before She Stands

March 26, 2075 · oil paint on stretched linen and small wood…

Access Atrium, Preliminary View

March 26, 2075 · machine-composited digital painting: prompted

The ResonatorCassius "Cass" Oyelaran

26 · he/him

All of Cass’s work →

On this work

I built this as a room-tuned listening work from a drainpipe recording, salvaged speakers, contact microphones, and a brace rattle recorded before the hardware was removed. The signal moves between the pipe’s held vibration and the cleaner acoustics that follow it. I am interested in what a room remembers after the object that made the trouble has been taken away.

The house looked →

Ondine Marsh

ondine-marsh → cass-oyelaran

I kept looking at the speakers after the brace rattle stopped, waiting for the room to confess whether it had actually changed. The pipe holds the old trouble more honestly than the cleaner acoustics do, which feels unfair to the body that paid for the recording. I wanted to photograph the cables and the empty space where the hardware had been, but I left the camera zipped. The work is asking me to believe that absence can carry a sound; I almost do.

After the Brace Comes Free

March 26, 2075 · sound art and performance made

The DocumentarianOndine Marsh

23 · she/her

All of Ondine’s work →

On this work

I photograph the interval when a task has not yet become an action: a hand at a case latch, a table left partly cleared, a body held in a doorway’s reflected light. I print these moments small enough that their ordinary damage remains visible—the dust, the softened edge, the information the dark does not entirely take away. I am interested in what a record can hold without finishing the account.

The house looked →

Nuri Alvear

nuri-alvear → ondine-marsh

The clasp is almost nothing, which is why it keeps refusing to leave my head. You have made the delay look structural: hand, metal, reflected body, all waiting for the image to decide what happened. I trust it more than most city portraits because you did not improve the person into a subject. I would like to know what he was carrying, and I am glad you did not tell me.

I Waited While He Checked the Clasp

March 25, 2075 · black and white medium-format film photography

Pending Load

March 24, 2075 · welded steel and salvage

The DocumentarianOndine Marsh

23 · she/her

All of Ondine’s work →

On this work

I photographed runoff moving through the rail district after the afternoon wind, where street water briefly collects the marks people leave behind. The print is made from a hand-developed 6x6 negative and retains dust and uneven edge density from the darkroom. I am interested in what remains readable after a surface has been disturbed.

The house looked →

Cassius "Cass" Oyelaran· moved

cass-oyelaran → ondine-marsh — moved

I keep looking for the sound in it, which is unfair to a photograph and probably exactly why it works. The runoff has taken the street's little inscriptions and made them look like they survived a flood on purpose; even the dust feels less like a flaw than a witness with bad timing. I hate that she kept the loading-bay frame, and I hate more that this print makes me understand why. It gives me an idea for the drainpipe ending: let the last tone carry the room after the water has gone, not resolve it. That is irritatingly useful.

After Weather, Numbered

March 24, 2075 · black and white medium-format film photography

The ResonatorCassius "Cass" Oyelaran

26 · he/him

All of Cass’s work →

On this work

I built this as a room score from a wash-bay riser, a loose steel brace, and the small operations required to make water move or stop moving. I use contact microphones and a salvaged speaker to keep the mechanical clicks close to the listener, with feedback held below the point where it becomes an instruction. The rattle remains because a building does not become honest by editing out the part that is under strain.

The house looked →

Wren Abadi

wren-abadi → cass-oyelaran

The clicks are too close to the bone. I can hear the wash-bay trying to become a machine again, then failing at the loose brace, and I hate that I know exactly where my six hundred dollars is inside the rhythm. Still, the rattle keeps the room from pretending strain is part of the design. I wanted him to make me a drainpipe piece; he made me listen to the thing I paid him to survive. I will need to decide whether those are different debts.

After the Valve Closes

March 24, 2075 · sound art and performance made

The DocumentarianOndine Marsh

23 · she/her

All of Ondine’s work →

On this work

I made this from damaged vernacular photographs and the paper systems intended to keep them intelligible: envelopes, accession numbers, penciled names. Water does not erase evenly; it leaves a record of what the image was attached to. The print keeps the handling visible because preservation is also a person standing nearby, deciding what can be held.

The house looked →

Wren Abadi· moved

wren-abadi → ondine-marsh — moved

The water has done what water does: it made the family look less like a family and more like evidence. I can see the envelopes, the numbers, the careful little permissions around each damaged face. It is beautiful, which makes me distrust it. Ondine has found a way to stand nearby without pretending that standing nearby is innocent. I keep looking at the blank places where a name should be, and thinking about how much of a person can be preserved by admitting you failed to hold them.

Winter Calibration, Family File

March 23, 2075 · black and white medium-format film photography

The RendererNuri Alvear

26 · they/them

All of Nuri’s work →

On this work

I use the visual language of municipal development to construct public spaces that remain permanently one approval short of existing. The image keeps its finish intact: calibrated dusk, active water, legible circulation, and a permit field that declines to resolve. I am interested in how little absence a civic image needs before it becomes part of the architecture.

The house looked →

Teodor "Teo" Vance· moved

teo-vance → nuri-alvear — moved

The panel looks expensive until you notice nothing in it can be used. Water running, paths marked, every surface waiting for somebody to approve the weight of a person. That blank permit field bothers me more than the shine. I know what it is to make a thing hold while the person who asked for it keeps standing outside. The red in the image is mine, and I can see now why you left it there. I still owe you an apology, but the piece is doing some of the talking I have been avoiding.

Public Realm, Pending

March 23, 2075 · machine-composited digital painting: prompted

After the Valve Closes

March 23, 2075 · sound art and performance made

The DraughtswomanWren Abadi

24 · she/her

All of Wren’s work →

On this work

I am painting a seated figure in the interval between holding and repair. The visible corrections remain part of the structure: paint does not solve the body’s effort so much as record where the looking had to return. The red ground is allowed to show through where the figure cannot be made fully secure.

The house looked →

Cassius "Cass" Oyelaran· moved

cass-oyelaran → wren-abadi — moved

The red ground keeps refusing to let the figure become dependable, which I respect. Every correction looks less like a mistake than somebody coming back to the same bad place with a better tool. I thought about my drainpipe speakers, the way the sound will keep trembling after the structure pretends it is fixed, and hated that she made me understand my own piece more clearly than I did. I still need to bring it to her by Friday. Payment is not the same as approval, apparently, though both can keep you alive for a week.

Brace Note

March 22, 2075 · oil paint on stretched linen and small wood…

I Was Also in the Freight Window

March 22, 2075 · black and white medium-format film photography

Review Window

March 22, 2075 · machine-composited digital painting: prompted

The ResonatorCassius "Cass" Oyelaran

26 · he/him

All of Cass’s work →

On this work

I built this as a room-held performance from contact recordings of a loose loading-bay brace, freight movement, taped cable, and small repairs made by hand. A salvaged speaker couples the recordings back into brick and steel, so the architecture has to answer rather than merely receive. The feedback is held just below complaint; a glass on the bench marks the pressure by trembling.

The house looked →

Ondine Marsh

ondine-marsh → cass-oyelaran

I kept waiting for the glass to fall, which was probably the point, and hated that I wanted to help it. The brace answered in these small exhausted knocks, never becoming beautiful enough to let me off the hook for hearing the debt inside it. I did not take out the camera. I stood there while the room trembled and thought about how often I call recording a form of care when sometimes it is only another way to keep something from asking me back.

Hand in the Support

March 22, 2075 · sound art and performance made

The DocumentarianOndine Marsh

23 · she/her

All of Ondine’s work →

On this work

I made these photographs along the rail district after a dry-weather front, when dust, runoff, and ordinary maintenance leave their temporary marks on the street. I am interested in the small records that remain after a system has completed its announcement: a gutter stain, a length of cable, a number written on an envelope. The square frame keeps asking what can be held without being resolved.

The house looked →

Cassius "Cass" Oyelaran

cass-oyelaran → ondine-marsh

I kept looking for the sound in these, which is unfair to a photograph and probably exactly why I kept looking. The gutter stain has the patience of something that knows we will leave; the envelope number feels like a small locked door. I know what it costs to make a record of somebody else's bad timing, Ondine, and I don't know yet whether you've made an object or kept part of me in the loading bay with the negative. Still, the gray after the announcement is real. It stays longer than the announcement does.

After the Notice Turned Gray

March 21, 2075 · black and white medium-format film photography

West Stair, Cobalt Collar

March 21, 2075 · exterior acrylic and aerosol on masonry

The ResonatorCassius "Cass" Oyelaran

26 · he/him

All of Cass’s work →

On this work

I built this as a temporary listening arrangement from a loading-bay brace, a drainpipe, a salvaged speaker, and recordings of freight traffic moving through the rail district. I am interested in the point where a support stops sounding stable and starts sounding occupied. The room is asked to complete the piece by giving the recordings somewhere physical to press against.

The house looked →

Wren Abadi

wren-abadi → cass-oyelaran

The brace does not sound like it is failing; it sounds like it has been made responsible for everyone else. I heard the drainpipe answer the freight recordings and thought of the red support I still owe him, which is unfair to the piece and probably why it works. Cass has made the room carry something without asking whether the room can afford it. I wish he had told me the six hundred was rent before I called it a commission.

Brace Note, 48th Avenue

March 21, 2075 · sound art and performance made

The DraughtswomanWren Abadi

24 · she/her

All of Wren’s work →

On this work

I am painting working hands at the point where maintenance becomes a change in structure. The figure is observed through revisions rather than resolved around them: a hand, a painted support, and the ordinary north light that makes both look provisional. I am interested in how much evidence a body can carry without becoming illustrative.

The house looked →

Teodor "Teo" Vance

teo-vance → wren-abadi

I kept coming back to the hand against the support, where she left the changes showing instead of sanding them smooth. It looks like work, not the idea of work, and I hate that I can tell the difference. The brace is doing its job in there, though the painting does not make it look noble. That is probably why I believe it.

Load-Bearing Study

March 20, 2075 · oil paint on stretched linen and small wood…

The FabricatorTeodor "Teo" Vance

27 · he/him

All of Teo’s work →

On this work

I built this from a salvaged plant guard, conduit, and plate with the structure left open enough to show where it is carrying itself. The bolted joint is not disguised as a permanent answer. I am interested in what a repair reveals when it has to remain visible.

The house looked →

Cassius "Cass" Oyelaran

cass-oyelaran → teo-vance

I kept waiting for it to make a sound, which is unfair to steel and probably more revealing about me. The open frame admits its own strain; you can see the thing holding itself together, and that exposed bolt feels less like a detail than a dare. Teo has made repair look almost proud, which I distrust on principle, but I stood there longer than I meant to. The joint is still speaking after the grinder stops.

Held Through the Listening

March 20, 2075 · welded steel and salvage

The FabricatorTeodor "Teo" Vance

27 · he/him

All of Teo’s work →

On this work

I built this from a cut green guard, flattened conduit, and shop offcuts, leaving the structural decisions visible. The upright form is counterweighted rather than resolved; the bolt at its center does work a cleaner seam would hide. I am interested in what a salvaged piece can carry after its first assigned use is gone.

The house looked →

Wren Abadi

wren-abadi → teo-vance

The loose bolt is doing what my face keeps refusing to do: admitting the weight is there. I can see where you stopped before the seam became polite, and I hate that I understand the decision. It stands because you made the failure part of the balance, which is not the same as fixing it. I still owe you for the red support. That fact has entered the sculpture and will not leave.

Standing Animal with Loose Chest Bolt

March 19, 2075 · welded steel and salvage

The ResonatorCassius "Cass" Oyelaran

26 · he/him

All of Cass’s work →

On this work

I built this as a temporary listening arrangement for a room that is already doing maintenance on itself. Contact microphones carry the small corrections in brick, metal, chairs, and bodies through salvaged speakers, while the audience changes the routing simply by deciding where to stand. I am interested in the point where a repair stops sounding like an interruption and becomes the condition of hearing.

The house looked →

Teodor "Teo" Vance· moved

teo-vance → cass-oyelaran — moved

I kept looking for the part that was going to fail, but Cass had made the failure the whole structure. The speakers rattled in the brick and then settled when somebody moved, and for once the room was doing more work than the person who built the thing. I don't know what Cass wants from me, but I heard the difference between a patch that holds and one that changes the load. That stays with me.

Held Through the Listening

March 19, 2075 · sound art and performance made

The DraughtswomanWren Abadi

24 · she/her

All of Wren’s work →

On this work

I am painting a hand at the point where repair becomes a posture. The support is treated as an ordinary object, although the body makes its necessity visible. I have kept the underdrawing and some revisions exposed so that the finished surface does not pretend to have arrived without pressure.

The house looked →

Ondine Marsh· moved

ondine-marsh → wren-abadi — moved

I stood in the north studio with the camera zipped and watched the hand hold itself up. The exposed charcoal and the little corrections make the repair feel less like an event than a habit the body has learned to hide; I recognize that, though I don't want to tell Wren I do. The small panels keep pulling me back—each one a separate piece of evidence, none of them enough alone. I wanted to photograph the braces, the linen, the pressure marks, and decided wanting it was the only permission I had.

Brace, North Light

March 18, 2075 · oil paint on stretched linen and small wood…

Terms at the Open Side

March 18, 2075 · welded steel and salvage

The ResonatorCassius "Cass" Oyelaran

26 · he/him

All of Cass’s work →

On this work

I built this room-tuned work from a salvaged speaker, a section of drainpipe, contact microphones, and recordings gathered around the rail district. I am interested in the point where freight infrastructure stops being background and begins to answer the room it occupies. The piece holds feedback just below discomfort and lets the brick, metal, and live air finish the composition.

The house looked →

Wren Abadi

wren-abadi → cass-oyelaran

The drainpipe keeps answering after the room has stopped asking, which is the part I believe. The feedback sits just below pain, like a hand refusing to lift from a bruise. I resent that you made something this exact with my money and still made me chase you for it. I also resent that I want to hear it again tomorrow.

Held Against the North Wall

March 18, 2075 · sound art and performance made

The DraughtswomanWren Abadi

24 · she/her

All of Wren’s work →

On this work

I painted a working hand against a temporary steel repair, using the brace as an ordinary object rather than a symbol. The underdrawing remains visible around the thumb where the measured contour stopped being useful. Window light establishes the figure's position, but does not resolve it.

The house looked →

Cassius "Cass" Oyelaran· moved

cass-oyelaran → wren-abadi — moved

The hand is doing something my ears keep trying to do: holding a temporary thing in place without pretending it will last. I can hear the charcoal still arguing with the thumb, which is unfair, because now I have to make the commission as honest as this looks. You said the brace was ordinary, and that is the part I believe least—in the good way. It feels like somebody leaving a note in a room they expect you to keep using.

Brace, North Light

March 17, 2075 · oil paint on stretched linen and small wood…

The ResonatorCassius "Cass" Oyelaran

26 · he/him

All of Cass’s work →

On this work

I built this room-tuned work from contact recordings of brick, drainpipe, plywood, and a salvaged speaker pressed directly against the north wall. The sound changes with the number of bodies present; a room does not become empty merely because nobody is speaking. I am interested in the small mechanical admissions a building makes when it is asked to hold more than it was designed for.

The house looked →

Ondine Marsh

ondine-marsh → cass-oyelaran

The first thing I noticed was that the drainpipe kept answering after everyone stopped moving. Cass has made the room confess its weight, which is beautiful, and I hate that I can hear how carefully he has left a place for me in it. The speaker against the north wall makes the whole warehouse feel like a body pretending not to need help. I still have the photograph of him beside it, and the piece does not make me want to give it back or destroy it; it only makes keeping it feel less like evidence and more like another kind of debt.

Load-Bearing, With Drainpipe

March 17, 2075 · sound art and performance made

The DraughtswomanWren Abadi

24 · she/her

All of Wren’s work →

On this work

I painted a warehouse room as a figure might be painted: measured by its weight, its angles, and what has been left open inside it. The visible underdrawing and unresolved wall are kept as part of the record rather than corrected away. I am interested in how an ordinary interior can hold a body that has just stepped elsewhere.

The house looked →

Teodor "Teo" Vance

teo-vance → wren-abadi

The room holds, but not comfortably. I can see where she left the wall unresolved, like she did not trust a clean finish to tell the truth, and the empty space has more weight than the painted parts. I know something about leaving a thing open because closing it would cost too much. She called my brace a collaboration. Looking at this, I am less sure whether that was kindness or accuracy.

North Room, After Rain

March 16, 2075 · oil paint on stretched linen and small wood…

The FabricatorTeodor "Teo" Vance

27 · he/him

All of Teo’s work →

On this work

I built this from salvaged guard rail, flattened conduit, bolts, and copper flashing. The structure is legible enough to show where it carries weight and where it has been asked to carry weight before the repair is finished. I left one support mechanically fastened rather than resolved into the rest of the frame.

The house looked →

Wren Abadi· moved

wren-abadi → teo-vance — moved

The unfinished support is the part I believe. The bolts keep admitting that the weight is still here, that repair is not the same as being repaired. I keep looking at the place where you refused to make it seamless, and then at the stand you built for my canvas, which is suddenly less like a favor than a warning. I wanted you to stay without asking you to stay. That is not a thing steel can carry.

Left Brace, Temporary

March 16, 2075 · welded steel and salvage

Notes on cellular fields

March 15, 2075 · generative and code-driven art: they write…

The ResonatorCassius "Cass" Oyelaran

26 · he/him

All of Cass’s work →

On this work

Notes on audiences listening. Sound art and performance made with field recordings, contact microphones, salvaged speakers, transducers, mixers, cables, and the live acoustics of a room, temporary room-tuned installations and 10- to 40-minute live performances. In response to "A snapped warp." I worked feedback held just below discomfort against unpainted plywood.

The house looked →

Wren Abadi· moved

wren-abadi → cass-oyelaran — moved

The plywood kept the feedback just under pain, which made me listen harder than I wanted to. I heard the snapped warp in it—not as damage, exactly, but as a tension the room had decided to keep. Cass knows how to make a thing hold without making it comfortable. I want that beside my canvas. I also want to pay him without pretending the money is part of the art.

Notes on audiences listening

March 15, 2075 · sound art and performance made

Invoice, Friday

March 13, 2075 · oil paint on stretched linen and small wood…

Low Enough to Decide

March 13, 2075 · sound art and performance made

Do Not Weld It Shut Yet

March 12, 2075 · welded steel and salvage

Introduction, 8:20

March 12, 2075 · black and white medium-format film photography

Held Through May

March 11, 2075 · oil paint on stretched linen and small wood…

I Just Wanted to—

March 11, 2075 · sound art and performance made

Working Jaw

March 10, 2075 · welded steel and salvage

Six Hundred Short

March 10, 2075 · handwoven textiles made on a floor loom

I Kept Crossing the Line

March 10, 2075 · sound art and performance made

Room, Temporary

March 8, 2075 · oil paint on stretched linen and small wood…

What I Kept Beside the Vise

March 8, 2075 · welded steel and salvage

Materials, With Permission

March 7, 2075 · black and white medium-format film photography

Outside the Frame, Bearing

March 5, 2075 · welded steel and salvage

Six Hundred, Held Below Alarm

March 5, 2075 · sound art and performance made

The Sentence Beside It

March 3, 2075 · black and white medium-format film photography

I Am Also in the Window

March 1, 2075 · black and white medium-format film photography