Monte Clark

Through the Lattice reflects upon the ongoing relevance of the lived environment, whether as owned, alienated, or desired. Each artist foregrounds the role of place—and its aesthetics of style, ornament, design, pattern, and architecture—in their recent works. Though diverse in their methods, the artists share a concern with the deeper meanings of space as well as its material construction.

“Where and how we inhabit space has been the subject of intense discussion as of late,” says exhibition curator Rhys Edwards. “Lockdown protocols, safe living spaces, and affordable housing are very current topics. I wanted to organize an exhibition of artworks that demonstrates how many artists have been responding to the idea of dwelling in recent times.”

Gold’s status as a precious metal is tied to a variety of factors, its relative scarcity, its exceedingly difficult extraction, its applications as a key resource across an expansive list of industries. Most of all, however, it is gold’s lustrous, radiant finish that defines and preserves its status at the forefront of our covetousness. It is this same glimmering luminosity that seems universal amongst the objects to which we ascribe most value. Silver, platinum, diamonds, and rubies share it, and it is a fundamental quality of the single most important and enduring object planet earth has ever known: The Sun. And just as gold bears a Midasian list of cautions that accompany our greed for it, so too does The Sun. For every crop grown and flower bloomed, so too does our skin burn and pictures fade by its same light. And it is here, with The Sun and our paradoxical relationship to it, that the most recent show at Hunt Gallery finds its source.