The exhibition draws from Lucy Lippard’s notion of “positive fragmentation” — the impulse to transform the everyday through reassembly and adaptation.
In this installation, metal salvage, ceramic tube forms, and printed textiles occupy the gallery like fragments in motion. Many of the metal components—steel from dismantled buildings and discarded bronze casting armatures—have been reclaimed and reconfigured with ceramic and textile elements. The ceramic tubes, extruded and arranged by hand, collapse, bend, and settle into improvised compositions. Suspended textiles, printed from partially used architectural transfer sheets, record gestures of cutting, scoring, and reattachment, forming accidental geometries of color and texture.
The exhibition’s title, taken from letters written by photographer Vivienne Entwistle to her son, architect Clive Entwistle, gestures toward inheritance and repetition. Through this lineage, the work engages a feminist practice of improvisation and adaptation—strategies passed through generations of self-taught women artists who transformed domestic constraint into creative form.
Rooted in the artist’s own domestic environment, explores transformation through fragmentation, the persistence of touch, and the continual negotiation between structure, collapse, and renewal.
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