Ariel Wood – rest, raze, cullect

‘rest, raze, cullect,’ brings together three bodies of work, interconnected, and interrelated, yet each inspired by a particular infrastructural situ. Transplanting them together here showcases material shifts over time and conceptual throughlines. Utility boxes on the corners of streets become cage-like shower stalls and water towers. Water main access pipes stretch upwards like pillars and lamp posts. Ceramic pipes and vessels rest in their steel holds, face and connect the walls, or drop in blue, acrylic suspension from the ceiling. These ceramic pipes are lifted off the ground on specifically fabricated black platforms; a nod to the unique floor-to-wall relationship of the John M. O’Quinn gallery.

Learn more at https://lawndaleartcenter.org/exhibition/ariel-wood/.

‘rest, raze, cullect,’ brings together three bodies of work, interconnected, and interrelated, yet each inspired by a particular infrastructural situ. Transplanting them together here showcases material shifts over time and conceptual throughlines. Utility boxes on the corners of streets become cage-like shower stalls and water towers. Water main access pipes stretch upwards like pillars and lamp posts. Ceramic pipes and vessels rest in their steel holds, face and connect the walls, or drop in blue, acrylic suspension from the ceiling. These ceramic pipes are lifted off the ground on specifically fabricated black platforms; a nod to the unique floor-to-wall relationship of the John M. O’Quinn gallery.

Learn more at https://lawndaleartcenter.org/exhibition/ariel-wood/.

‘rest, raze, cullect,’ brings together three bodies of work, interconnected, and interrelated, yet each inspired by a particular infrastructural situ. Transplanting them together here showcases material shifts over time and conceptual throughlines. Utility boxes on the corners of streets become cage-like shower stalls and water towers. Water main access pipes stretch upwards like pillars and lamp posts. Ceramic pipes and vessels rest in their steel holds, face and connect the walls, or drop in blue, acrylic suspension from the ceiling. These ceramic pipes are lifted off the ground on specifically fabricated black platforms; a nod to the unique floor-to-wall relationship of the John M. O’Quinn gallery.

Learn more at https://lawndaleartcenter.org/exhibition/ariel-wood/.

‘rest, raze, cullect,’ brings together three bodies of work, interconnected, and interrelated, yet each inspired by a particular infrastructural situ. Transplanting them together here showcases material shifts over time and conceptual throughlines. Utility boxes on the corners of streets become cage-like shower stalls and water towers. Water main access pipes stretch upwards like pillars and lamp posts. Ceramic pipes and vessels rest in their steel holds, face and connect the walls, or drop in blue, acrylic suspension from the ceiling. These ceramic pipes are lifted off the ground on specifically fabricated black platforms; a nod to the unique floor-to-wall relationship of the John M. O’Quinn gallery.

Learn more at https://lawndaleartcenter.org/exhibition/ariel-wood/.

‘rest, raze, cullect,’ brings together three bodies of work, interconnected, and interrelated, yet each inspired by a particular infrastructural situ. Transplanting them together here showcases material shifts over time and conceptual throughlines. Utility boxes on the corners of streets become cage-like shower stalls and water towers. Water main access pipes stretch upwards like pillars and lamp posts. Ceramic pipes and vessels rest in their steel holds, face and connect the walls, or drop in blue, acrylic suspension from the ceiling. These ceramic pipes are lifted off the ground on specifically fabricated black platforms; a nod to the unique floor-to-wall relationship of the John M. O’Quinn gallery.

Learn more at https://lawndaleartcenter.org/exhibition/ariel-wood/.

‘rest, raze, cullect,’ brings together three bodies of work, interconnected, and interrelated, yet each inspired by a particular infrastructural situ. Transplanting them together here showcases material shifts over time and conceptual throughlines. Utility boxes on the corners of streets become cage-like shower stalls and water towers. Water main access pipes stretch upwards like pillars and lamp posts. Ceramic pipes and vessels rest in their steel holds, face and connect the walls, or drop in blue, acrylic suspension from the ceiling. These ceramic pipes are lifted off the ground on specifically fabricated black platforms; a nod to the unique floor-to-wall relationship of the John M. O’Quinn gallery.

Learn more at https://lawndaleartcenter.org/exhibition/ariel-wood/.

‘rest, raze, cullect,’ brings together three bodies of work, interconnected, and interrelated, yet each inspired by a particular infrastructural situ. Transplanting them together here showcases material shifts over time and conceptual throughlines. Utility boxes on the corners of streets become cage-like shower stalls and water towers. Water main access pipes stretch upwards like pillars and lamp posts. Ceramic pipes and vessels rest in their steel holds, face and connect the walls, or drop in blue, acrylic suspension from the ceiling. These ceramic pipes are lifted off the ground on specifically fabricated black platforms; a nod to the unique floor-to-wall relationship of the John M. O’Quinn gallery.

Learn more at https://lawndaleartcenter.org/exhibition/ariel-wood/.

‘rest, raze, cullect,’ brings together three bodies of work, interconnected, and interrelated, yet each inspired by a particular infrastructural situ. Transplanting them together here showcases material shifts over time and conceptual throughlines. Utility boxes on the corners of streets become cage-like shower stalls and water towers. Water main access pipes stretch upwards like pillars and lamp posts. Ceramic pipes and vessels rest in their steel holds, face and connect the walls, or drop in blue, acrylic suspension from the ceiling. These ceramic pipes are lifted off the ground on specifically fabricated black platforms; a nod to the unique floor-to-wall relationship of the John M. O’Quinn gallery.

Learn more at https://lawndaleartcenter.org/exhibition/ariel-wood/.

‘rest, raze, cullect,’ brings together three bodies of work, interconnected, and interrelated, yet each inspired by a particular infrastructural situ. Transplanting them together here showcases material shifts over time and conceptual throughlines. Utility boxes on the corners of streets become cage-like shower stalls and water towers. Water main access pipes stretch upwards like pillars and lamp posts. Ceramic pipes and vessels rest in their steel holds, face and connect the walls, or drop in blue, acrylic suspension from the ceiling. These ceramic pipes are lifted off the ground on specifically fabricated black platforms; a nod to the unique floor-to-wall relationship of the John M. O’Quinn gallery.

Learn more at https://lawndaleartcenter.org/exhibition/ariel-wood/.

‘rest, raze, cullect,’ brings together three bodies of work, interconnected, and interrelated, yet each inspired by a particular infrastructural situ. Transplanting them together here showcases material shifts over time and conceptual throughlines. Utility boxes on the corners of streets become cage-like shower stalls and water towers. Water main access pipes stretch upwards like pillars and lamp posts. Ceramic pipes and vessels rest in their steel holds, face and connect the walls, or drop in blue, acrylic suspension from the ceiling. These ceramic pipes are lifted off the ground on specifically fabricated black platforms; a nod to the unique floor-to-wall relationship of the John M. O’Quinn gallery.

Learn more at https://lawndaleartcenter.org/exhibition/ariel-wood/.

‘rest, raze, cullect,’ brings together three bodies of work, interconnected, and interrelated, yet each inspired by a particular infrastructural situ. Transplanting them together here showcases material shifts over time and conceptual throughlines. Utility boxes on the corners of streets become cage-like shower stalls and water towers. Water main access pipes stretch upwards like pillars and lamp posts. Ceramic pipes and vessels rest in their steel holds, face and connect the walls, or drop in blue, acrylic suspension from the ceiling. These ceramic pipes are lifted off the ground on specifically fabricated black platforms; a nod to the unique floor-to-wall relationship of the John M. O’Quinn gallery.

Learn more at https://lawndaleartcenter.org/exhibition/ariel-wood/.

‘rest, raze, cullect,’ brings together three bodies of work, interconnected, and interrelated, yet each inspired by a particular infrastructural situ. Transplanting them together here showcases material shifts over time and conceptual throughlines. Utility boxes on the corners of streets become cage-like shower stalls and water towers. Water main access pipes stretch upwards like pillars and lamp posts. Ceramic pipes and vessels rest in their steel holds, face and connect the walls, or drop in blue, acrylic suspension from the ceiling. These ceramic pipes are lifted off the ground on specifically fabricated black platforms; a nod to the unique floor-to-wall relationship of the John M. O’Quinn gallery.

Learn more at https://lawndaleartcenter.org/exhibition/ariel-wood/.

‘rest, raze, cullect,’ brings together three bodies of work, interconnected, and interrelated, yet each inspired by a particular infrastructural situ. Transplanting them together here showcases material shifts over time and conceptual throughlines. Utility boxes on the corners of streets become cage-like shower stalls and water towers. Water main access pipes stretch upwards like pillars and lamp posts. Ceramic pipes and vessels rest in their steel holds, face and connect the walls, or drop in blue, acrylic suspension from the ceiling. These ceramic pipes are lifted off the ground on specifically fabricated black platforms; a nod to the unique floor-to-wall relationship of the John M. O’Quinn gallery.

Learn more at https://lawndaleartcenter.org/exhibition/ariel-wood/.

‘rest, raze, cullect,’ brings together three bodies of work, interconnected, and interrelated, yet each inspired by a particular infrastructural situ. Transplanting them together here showcases material shifts over time and conceptual throughlines. Utility boxes on the corners of streets become cage-like shower stalls and water towers. Water main access pipes stretch upwards like pillars and lamp posts. Ceramic pipes and vessels rest in their steel holds, face and connect the walls, or drop in blue, acrylic suspension from the ceiling. These ceramic pipes are lifted off the ground on specifically fabricated black platforms; a nod to the unique floor-to-wall relationship of the John M. O’Quinn gallery.

Learn more at https://lawndaleartcenter.org/exhibition/ariel-wood/.

‘rest, raze, cullect,’ brings together three bodies of work, interconnected, and interrelated, yet each inspired by a particular infrastructural situ. Transplanting them together here showcases material shifts over time and conceptual throughlines. Utility boxes on the corners of streets become cage-like shower stalls and water towers. Water main access pipes stretch upwards like pillars and lamp posts. Ceramic pipes and vessels rest in their steel holds, face and connect the walls, or drop in blue, acrylic suspension from the ceiling. These ceramic pipes are lifted off the ground on specifically fabricated black platforms; a nod to the unique floor-to-wall relationship of the John M. O’Quinn gallery.

Learn more at https://lawndaleartcenter.org/exhibition/ariel-wood/.

‘rest, raze, cullect,’ brings together three bodies of work, interconnected, and interrelated, yet each inspired by a particular infrastructural situ. Transplanting them together here showcases material shifts over time and conceptual throughlines. Utility boxes on the corners of streets become cage-like shower stalls and water towers. Water main access pipes stretch upwards like pillars and lamp posts. Ceramic pipes and vessels rest in their steel holds, face and connect the walls, or drop in blue, acrylic suspension from the ceiling. These ceramic pipes are lifted off the ground on specifically fabricated black platforms; a nod to the unique floor-to-wall relationship of the John M. O’Quinn gallery.

Learn more at https://lawndaleartcenter.org/exhibition/ariel-wood/.

‘rest, raze, cullect,’ brings together three bodies of work, interconnected, and interrelated, yet each inspired by a particular infrastructural situ. Transplanting them together here showcases material shifts over time and conceptual throughlines. Utility boxes on the corners of streets become cage-like shower stalls and water towers. Water main access pipes stretch upwards like pillars and lamp posts. Ceramic pipes and vessels rest in their steel holds, face and connect the walls, or drop in blue, acrylic suspension from the ceiling. These ceramic pipes are lifted off the ground on specifically fabricated black platforms; a nod to the unique floor-to-wall relationship of the John M. O’Quinn gallery.

Learn more at https://lawndaleartcenter.org/exhibition/ariel-wood/.

‘rest, raze, cullect,’ brings together three bodies of work, interconnected, and interrelated, yet each inspired by a particular infrastructural situ. Transplanting them together here showcases material shifts over time and conceptual throughlines. Utility boxes on the corners of streets become cage-like shower stalls and water towers. Water main access pipes stretch upwards like pillars and lamp posts. Ceramic pipes and vessels rest in their steel holds, face and connect the walls, or drop in blue, acrylic suspension from the ceiling. These ceramic pipes are lifted off the ground on specifically fabricated black platforms; a nod to the unique floor-to-wall relationship of the John M. O’Quinn gallery.

Learn more at https://lawndaleartcenter.org/exhibition/ariel-wood/.