With textiles, embroidery, whittling, ceramics, collage, photography and 3D printing, HomeEc references the domestic realm in concept and craft. The participating artists hail from Arkansas, Kentucky, Mississippi, Tennessee, and New York and contribute a variety of unique considerations of home, domesticity, privacy, tradition, belonging and displacement.

Ceramicist Summer Carmack evokes the tradition of afternoon tea, while Nick DeFord gently rebels against traditional notions of the home front in embroidery and image. Joe Ford's 3D printed cul-de-sac addresses privacy and surveillance. Paul Loughney's collages of floating millwork and destabilized architectural detail face Cara Sullivan's photographs of burnt interiors. Jenna Richards presents ghostly ceramic shells of folded garments - memorials to time and care - while Rowan Haug's paper quilt top floats on ambient air flow suggesting clothes drying on the line. A second work by Sullivan documents a performance in which she mimics the catnap and the charming collection of hand whittled spoons by Marty Haug deliver both a variety and unity of form.

Cara Sullivan: Artist Statement:

These photos are literally a document of the state of our house when we decided to buy it. If you've ever perused any real estate brochures, you know that these three photos don't scream "Yes! We'll take it!" I always thought that was funny, and my gesture in showing them in an art context is really about whether one reads the photos as disaster images, or as images of a space which has potential and can be resurrected. If you write anything about them, I think it would be worth mentioning that the house was completely renovated and brought back to life. On one hand, the images are disturbing because we don't like to think of our domestic spaces in this condition. On the other hand, though the photos show haunting images where time has stopped, they do not document an end--they document a beginning. This is what is powerful about them to me.