The commune of one is the cult of the other, 2017, found plywood and hoarding walls, 30 x 192 x 96 in. (76 x 488 x 244 cm). With Untitled (2017) by Matt Browning and Untitled (2017) by Carolyn Stockbridge. A curse cannot be broken, can only be understood as that which does not break, 2017, slipcasted WWI artillery shell, 19 x 3 x 3 in. (48 x 7 x 7 cm) A curse cannot be broken, can only be understood as that which does not break, 2017, slipcasted WWI artillery shell, 14 x 3 x 3 in. (36 x 7 x 7 cm) A curse cannot be broken, can only be understood as that which does not break, 2017, slipcasted WWI artillery shell, 12 x 3 x 3 in. (30 x 7 x 7 cm) Infinite ullage, 2017, coins defaced to the point of becoming mirrors Infinite ullage, 2017, coins defaced to the point of becoming mirrors Infinite ullage, 2017, coins defaced to the point of becoming mirrors Smoke, sand, 2017, soot on sandpaper, 12 x 9 in. (30 x 23 cm) An image deferred through water, 2017, graphite on paper, 11 x 9 in. (28 x 22 cm) Untitled, 2016–2017, jacket sourced from an RMG factory in Gazipur that has experienced mass hallucinations and ghost attacks; copper piping, 34 x 24 x 24 in. (86 x 61 x 61 cm) Fire is the only true rhizome, 2017, scions are (i) harvested from trees planted on top of condo towers in Olympic Village and (ii) grafted onto trees outside the gallery


Candle, Morris and Helen Belkin Art Gallery, Vancouver, Canada, May 5–June 4, 2017. Tatiana Mellema wrote an essay called “Spectral Marks” to accompany the exhibition.