2026.
An accumulation of here
A site specific installation for the show Escape Velocity at Ghostmachine Gallery in Chinatown composed of found debris, site photographs, and impressions of the ground. The work interrogates scale as a conceptual and experiential condition that transforms the landscape.
An excerpt from Gallery Press Release by curator Dominka Tylcz.
In Cecil Howell’s practice, the frameworks of landscape and architecture are transformed into conceptual tools for experiencing the collapse of temporal and physical scales, from the molecular to the planetary. Through heightening the ambiguity of shapes, patterns and textures, Howell’s installations uncover connections between seemingly distant entities: the geological past and the digital present, or satellites and handheld devices. In doing so, her works open up a space for imagining the multitudinous planetary, life-organizing processes. For this exhibition, Howell incorporated into her installation elements found near the gallery, imprinting local specificity onto her sculptural study of panoramic relativity. Toggling between framing devices, haptic and visual modes of perception, and illumination and obscurity, the work tests the thought-shaping possibilities of architecture, infrastructure and landscape.
Media: aluminum foil, glass, zinc sheet, street debris, magnifying glasses, inkjet print, dye-sublimation print, laserjet print on transparent film, clamps, brackets, Honey locust leaves, cutting mat, 9 sheets with chalk pastel on paper, vinyl, binoculars, ornithology books, lamp
An excerpt from Gallery Press Release by curator Dominka Tylcz.
In Cecil Howell’s practice, the frameworks of landscape and architecture are transformed into conceptual tools for experiencing the collapse of temporal and physical scales, from the molecular to the planetary. Through heightening the ambiguity of shapes, patterns and textures, Howell’s installations uncover connections between seemingly distant entities: the geological past and the digital present, or satellites and handheld devices. In doing so, her works open up a space for imagining the multitudinous planetary, life-organizing processes. For this exhibition, Howell incorporated into her installation elements found near the gallery, imprinting local specificity onto her sculptural study of panoramic relativity. Toggling between framing devices, haptic and visual modes of perception, and illumination and obscurity, the work tests the thought-shaping possibilities of architecture, infrastructure and landscape.
Media: aluminum foil, glass, zinc sheet, street debris, magnifying glasses, inkjet print, dye-sublimation print, laserjet print on transparent film, clamps, brackets, Honey locust leaves, cutting mat, 9 sheets with chalk pastel on paper, vinyl, binoculars, ornithology books, lamp
Images courtesy of GHOSTMACHINE Gallery, Photo by Kou-Heng Huang @kuo.image