Use Becoming No Use Becoming Use Again

Use Becoming No Use Becoming Use Again, unfolds from the interior of a personal car, continuing the artist’s engagement with everyday objects as tools of creative practice. In this exhibition, the car is considered as more than transport: a semi-private workspace that extends the studio; structuring production through mobility, scale and temporary storage. Central to the exhibition, Routine (2026) is an oil painting depicting a compact landscape seen from the car’s trunk through the left-open ski hatch — a negative space formed by the items carried to the studio. The painting connects the car’s utility with everyday objects that circulate through the workspace. In a straightforward approach, materials that could be needed at any point in creative practice are brought together through the framework of the car. Equally sized oil paintings render primarily readymade or manufactured objects, along with materials that remain part of production processes but are not visible in the final product. Individual objects follow: bubble wrap, a plastic bag, a rumpled cardigan, a folded cardigan, rubber bands, an S-hook, bricks, incense, a rough model, a car trunk, and a screen view from a car’s rear camera. In this way, the car serves as a structural point of departure for thinking about practice and work while remaining grounded in working environments. Two installations extend this logic into space. Two office chair legs counterposed between the floor and the ceiling, connected by a plexiglass pipe that allows it to move within the exhibition space. Three pairs of scissor jacks, typically found in car trunks, loosely hold metal rulers, bending them into slight arches. Through this language of attaching parts together, the installations bring into relation a workspace in transit — the car — with everyday elements of potential workspaces. In this way, the objects appear as “pending tools,” reflecting on usefulness and functionality while operating as auxiliary elements within the structure of production. Rather than turning these elements into symbols or building a narrative around them, the exhibition keeps them in suspension. These objects are neither fully in use nor completely inactive, reflecting the in-between moments that shape everyday studio work. By isolating and repositioning them, the works slow down the idea of production and draw attention to the conditions that support it. * Title adapted from a line in Frank O’Hara, “3 Airs,” in Lunch Poems (San Francisco: City Lights Books, 1964), with the word air replaced by use.