My labor-oriented works, built for this exhibition, are a reflection on the sustainability and ecology of the artist’s life in the art world, another system that artists navigate. There is a sense of interdependency between the artist and the gallery-museum-collector system. I delve into the relationship between craftsmanship and the often-overlooked elements of studio maintenance, which in combination with prevalent expectations for artists to work without proper compensation generate precarious ecologies. I invite the viewer to contemplate the value of work, the intimate connection between the artist and their workspace, and the intrinsic beauty found within the routine maintenance essential to creative pursuits. By highlighting the processes and dedication inherent in art labor, I provoke a reconsideration of these undervaluations and advocate for a more equitable recognition of the time, effort, and expertise invested by artists. As a sculptor my practice is heavily involved with materials and object making. Working with metal and other various mixed media materials not only requires space and tools, but also continuous maintenance work. Steel, bronze, aluminum, and copper also all leave residues. These need to be dusted, vacuumed, and wiped off the surfaces that I work on. Maintenance also used to be an essential part of jobs that I held to financially sustain my practice.

“Labor of Fire” was organized and curated by Benedetta Casstriotto at The DC Art Center (DCAC).