Thanks for not breeding
LAURA DAVIS, End of the Line 2, 2019, necklaces, resin, wood, paint, belt, copper, and earring, 12 inches 30.5 cm
DERRICK WOODS-MORROW, Hannah & Eva | the distance between shore and sea, 2019, mounted & framed photograph, black and brown hair, shells from Seabrook, ‘Restoration Toile’: ink on upholstered linen in a wooden frame, unique, 40 x 60 inches 101.6 x 152.4 cm
LAURA DAVIS, Dilettante No More, 2019, copper, brass, nickel, paint, necklaces, earring, pins, liquor goblet, bracelet, and cork, 30 x 36 inches 76.2 x 91.4 cm (hanging dimensions variable)
DERRICK WOODS-MORROW, Excerpts from Acts of Divination: Negative of Sight (Photographic documentation of 2-hour durational performance on Lincoln Beach), 2019, piezo pigment in wooden frame, edition of 4 & 2 AP, 60 x 40 inches 152.4 x 101.6 cm
LAURA DAVIS, Snuffed, 2019, copper, brass, nickel, patina, necklaces, sterling silver, and gold leaf , 21.5 x 19 inches 53.3 x 48.3 cm (hanging dimensions variable)
DERRICK WOODS-MORROW, Lynell in Sandtrap II (Audobon Park), 2019, piezo pigment in wooden frame , edition 2 of 4 (from an edition of 4 & 2 AP), 40 x 26 inches 101.6 x 66 cm
DERRICK WOODS-MORROW, (detail) Lynell in Sandtrap II (Audobon Park), 2019, piezo pigment in wooden frame , edition 2 of 4 (from an edition of 4 & 2 AP), 40 x 26 inches 101.6 x 66 cm
LAURA DAVIS, Slow Burn, 2019, copper, brass, nickel, paint, and necklaces, 2.5 x 12.25 inches 6.4 x 31.1 cm (hanging dimensions variable)
DERRICK WOODS-MORROW, Platform for Acts of Divination: Second Seas, 2019, birch, oak, and walnut wood, sand from Rainbow Beach, ‘Restoration toile’: ink on upholstered linen and metal, 96 x 96 x 48 inches 244 x 244 x 122 cm
LAURA DAVIS, Rightsized, 2019, copper, brass, nickel, paint, and necklaces, 3 x 5 inches 7.6 x 12.7 cm (hanging dimensions variable)
DERRICK WOODS-MORROW, New Jazz Blue (Gypsy), 2019, diptych: (left) Jim Crow era Porcelain, Mississippi River slip (New Orleans) & modified glaze, (right) 19th century Parian ware, Jim Crow era Porcelain, North Carolina playground slip, Mississippi River slip (New Orleans), and modified glazes, 12.7 x 6.35 x 6.35 inches 5 x 4.4 cm and 8.5 x 7 x 5 inches 21.6 x 17.8 x 12.7 cm
LAURA DAVIS, July 30, 2019 (Book Boxes), 2019, PLA, book, mirror, glue, paint, hardware dimensions variable, edition of 3
DERRICK WOODS-MORROW, Sula (before Chicken Little) and after ‘Shadrack,' 2019, 19th century Parian ware, Jim Crow era Porcelain, North Carolina playground slip, Mississippi River slip (New Orleans), North Carolina Soil Deposit, and modified glazes, 8 X 8 X 3 inches 20.3 x 20.3 x 12.7 cm
Laura Davis, The Sailed Ship, 2019, bookend, copper, brass, nickel, paint, necklace, and hardware, 20 x 6 x 3.5 inches 50.8 x 15.2 x 8.9 cm
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Thanks for not breeding
Laura Davis & Derrick Woods-Morrow
9.06.2019 – 10.19.2019
Aspect/Ratio is pleased to present Thanks for not breeding, a two person exhibition with Laura Davis and Derrick Woods-Morrow. The works in Thanks for not breeding will focus on dualities of work and play, assessing and challenging the otherwise normative notions of such acts. Davis will create an installation of sculptural objects and projection which freezes time while alluding to stress; whereas Woods-Morrow references a performative space for play as an act of disruption. While both are seemingly contradictory, each asserts to question heteronormativity and the gaze.
Both Laura Davis and Derrick Woods-Morrow are Chicago based artists who have received an Artadia Award (Davis in 2015, Woods-Morrow in 2018), participated in BOLT residency (Davis in 2013, Woods-Morrow in 2018), and were included in exhibitions at the MCA Chicago: Davis in Homebodies, curated by Naomi Beckwith in 2013 and Woods-Morrow in-progress, curated by January Parkos Arnall in 2019.
Laura Davis is a multi-disciplinary artist interested in objects and craft. Her works both present their own histories but easily adapt to Davis’ recontextualization of them. She wields and contradicts assumed archetypes of gendered roles, reimagining new relationships by creating handcrafted metal sculpture combined with gender specific ready made objects. Further, her interactions disrupt notions of value at the intersections of art, design, and craft.
Derrick Woods-Morrow, often reassesses material in his work. By deploying a wide variety of media– including photographic material, ceramic sculpture, film, and narrative performance, he attempts to reconcile the painful, personal and shared experiences of existing as black & queer in America. His works asks what it would mean to imagine a past and future where bodies like his own can exist as ‘whole’ —to not perpetually labor merely in order to exist, but to thrive and play; to be renewed.