Kelsey Hamilton Davis’ thesis exhibition In the House of Weird Sisters queries longings for heritage narratives through environments configured with ceramics, textiles, found objects from her New England home, and organic materials.
Known for their tactility and texture, Wheat’s materials take on the form of both painting and sculpture, and borrow from the rich, and often gendered, history of fibers and textiles.
Informed by life in diaspora, these sculptures are influenced by time spent in familial homelands studying ancestral handicrafts, and in witnessing how these cultural practices are threatened by globalized industry. Referencing emergency shelters and home wares, each of the works play on the tension created when a functional object becomes functionless.
Her floral compositions are frequently described as “lush,” and with good reason: the oil, wax, graphite, and marble-dust flowers are bunched so densely that there isn’t a center or single focal point.
Gifts from friends, objects collected while traveling, and family heirlooms infuse each piece with narrative, history and a quiet sense of familiarity.