despite the botanical elements composing the majority of the installation, the mirror in TITLE TRACK may be its most significant. informed by the gallery pieces of robert smithson, its inclusion references smithson's series of works exploring rocks and mirrors. however, in this site-specific installation for galerie camille, the mirror shards are supported by pieces of concrete from a broken detroit alley behind the artist's home. and, as the childhood mirror of the artist, inadvertently broken, it is an obvious call for reflection of the passage of time, especially in this moment, emerging from winter and quarantine.

the ornamental grasses and wild grapevine are cut from the artist's garden, both present in a muted movement. verdant amaranth serves as a familiar preview of hope that spring offers, and was sourced from california, reminding us of challenges of self-sufficiency in the dull palette of winter in michigan. the presence of natural materials indoors of TITLE TRACK is a warm wind of a new season arriving.
the artist offers her intentional arrangement of materials and the intersections of the elements' own characteristics as an object of anticipation.

curated by dalia reyes for galerie camille

photographer: emily berger