Designed to empower the next generation of ecological researchers, this project seeks to nurture structural change. WHEN THE BUTTERFLIES WOULD VISIT brings together artists/activists/scientists around the environmental struggle in Guna Yala territory of Panama.
The excrement of fossil fuels and capitalism has washed up onto the shores and inside the bodies of the Indigenous Guna. In the summer 2022, on the ecological indigenous artist residency, we seeded this project to share knowledge and build new ways of working—ecological reciprocity.
Designed to empower the next generation of ecological researchers, this project seeks to nurture structural change. WHEN THE BUTTERFLIES WOULD VISIT brings together artists/activists/scientists around the environmental struggle in Guna Yala territory of Panama.
The excrement of fossil fuels and capitalism has washed up onto the shores and inside the bodies of the Indigenous Guna. In the summer 2022, on the ecological indigenous artist residency, we seeded this project to share knowledge and build new ways of working—ecological reciprocity.
There is a particular kind of knowing that lives in a dinner table—in the grain of the wood, the weight of the chairs, the smell of a meal that no longer exists but somehow never leaves. Baltimore-based twin artists Hope & Faith McCorkle have built an entire exhibition around that knowing, and what it means to carry it long after the table and the person who set it are gone.
You Can Always Come Back Home is an immersive, multidimensional installation that asks one of the most profound questions we can hold: where is home when the world keeps moving and the people who made it are no longer here? Working across large-scale mixed-media scrolls, domestic objects, inherited furniture, and participatory installations, Hope and Faith construct a gallery environment that breathes like a living room—layered, intimate, and full of presence. Rooted in Black feminist thought and bell hooks' concept of homeplace as a site of resistance, the exhibition positions home not as a fixed location but as a space where memory, spirit, and ancestry live as one.
There is a particular kind of knowing that lives in a dinner table—in the grain of the wood, the weight of the chairs, the smell of a meal that no longer exists but somehow never leaves. Baltimore-based twin artists Hope & Faith McCorkle have built an entire exhibition around that knowing, and what it means to carry it long after the table and the person who set it are gone.
You Can Always Come Back Home is an immersive, multidimensional installation that asks one of the most profound questions we can hold: where is home when the world keeps moving and the people who made it are no longer here? Working across large-scale mixed-media scrolls, domestic objects, inherited furniture, and participatory installations, Hope and Faith construct a gallery environment that breathes like a living room—layered, intimate, and full of presence. Rooted in Black feminist thought and bell hooks' concept of homeplace as a site of resistance, the exhibition positions home not as a fixed location but as a space where memory, spirit, and ancestry live as one.
As a roux slowly turns and thickens, deepening in color and warmth, it becomes a foundation you can feel. Materialized and compounded by every shared meal, teaching, and setting, our routes move with that same intention, shaping stories that root us. Join us in reflecting on the wisdom, tastes, and memories stored in food, and how they serve as intimate tellings of our journeys thus far.
There is a particular kind of knowing that lives in a dinner table—in the grain of the wood, the weight of the chairs, the smell of a meal that no longer exists but somehow never leaves. Baltimore-based twin artists Hope & Faith McCorkle have built an entire exhibition around that knowing, and what it means to carry it long after the table and the person who set it are gone.
You Can Always Come Back Home is an immersive, multidimensional installation that asks one of the most profound questions we can hold: where is home when the world keeps moving and the people who made it are no longer here? Working across large-scale mixed-media scrolls, domestic objects, inherited furniture, and participatory installations, Hope and Faith construct a gallery environment that breathes like a living room—layered, intimate, and full of presence. Rooted in Black feminist thought and bell hooks' concept of homeplace as a site of resistance, the exhibition positions home not as a fixed location but as a space where memory, spirit, and ancestry live as one.
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