Salamander, group exhibition at the Elder Gallery at Nebraska Wesleyan University in Lincoln, NE.

Curated by Tim Brawner, September 9, 2022 - October 30, 2022.

Caught in a Loose Noose, 2019, ink on paper. 20 x 30 in.

The Sleep of an Amphibian, 2022, watercolor on paper. 9 x 12 in.

Sleying the Reed, 2022, watercolor on paper. 9 x12 in

 

The House Protects the Dreamer, a two-person show with Kathryn Shriver at Kingfish Gallery in Buffalo, NY.
June 3, 2022 - July 27, 2022

The House Protects the Dreamer explores the intuitive resonances between inherited domestic skillsets, labor, and the home as its own body of inherited trauma. It investigates labor as a time-intensive, meditative and restorative practice that concurrently uses and consumes the body. The home is both a site of labor and a site of shelter; processes of decoration and covering-up are at once restorative and claustrophobic. Methods of making and the value assigned to craft are understood as generational inheritance, where process-based, tacit knowledge is passed down alongside trauma. The body and its practices cannot be severed from its ancestors and the physical spaces they share. This knowledge connects mind, body, and input from the world while presenting the opportunity to either reify the traditions and traumas or actively reroute them.

Krystal DiFronzo turns to the 1970s film Wanda for new considerations of the home. The title character grapples with a sense of aimlessness after leaving her husband and hopping from various domestic spaces of men trying to find a space of comfort and security, all against a Rust Belt backdrop. DiFronzo examines the discomforting notion of home–a tension between commeradie and difference–through their examination of materiality, labor, and storytelling. If Wanda examines the day-to-day and real-life struggles of her main character, then DiFronzo’s labored weavings access a symbolic, transcendent temporality. Their weavings allude to the dream world or the archetypal realm, impossibly inexhaustible of meaning and nuance while examining larger notions surrounding death and birth.”

Paint’s Peeling, 2022, dye and resist on silk and found cotton, ribbon, thread, 64 x 24 in. each

Umbilical Cord/Hangman’s Noose, 2022, naturally dyed raw wool tapestry, 30 x 35 in.

Fair Hormone, 2022, naturally dyed raw wool tapestry. 84 x 7 in.

Choke Chain (#1, #2, #3), 2022, madder root, pomegranate, and resist on silk, thread, dead dough, 26 x 26 in. each

Paul Nudd’s Purple Mayonnaisery at Western Exhibitions in Chicago, IL. July 31, 2021 - August 28, 2021

Mutterkorn, 2021, natural dyes on silk, dead dough

Mutterkorn, 2021, natural dyes on silk, dead dough

a gate// a veil// a vessel , a group exhibition with Chiara No and Jacquelyn Marie Shannon at Field Projects & Home Gallery in NYC. Jan 7 - Feb 13, 2021

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The Blood-Fouling Thorn, 2021, natural dyes (cochineal, madder root, pomegranate, osage orange, onion skin, black tea, logwood, and iron) on silk gauze measuring 8 ft. x 10 ft., wool yarn, dead dough, stones from the Long Island Sound

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Broke Yoke, 2018, hand-tufted rug, 44 in. x 68 in.