Out there – to harness the ephemeral we reclaim a treatise of truth for all things taut + flexible

wake to stand free

skip a beat over silver strings

make mobile support to center body

fasten limbs to coordinate active periphery

with persons a place and particle things

grammar for a tree and hair mirroring wall 

lift to let lay, sit to breathe to look up and out for all who sway and settle above.

Thomas Erben Gallery is pleased to present Weather Trust / Between Stars: Offer Balancing Scenarios, the gallery’s first solo exhibition with interdisciplinary artist Ali Van. At the center of the show is an installation in which visitors are invited to hammer a nail into the walls of the gallery, adding a star into a collaboratively built constellation. In the relational structures that Van produces – in objects and situations – she questions how the experience of artwork can reflect our shared vulnerability, and how together we can find balance with each other.

In the main project, a network of stars grows while the show continues, as more individuals add golden nails into the gallery’s architecture. People who visit the gallery are integral in producing an expansive visual constellation, a representation of the personal connections that bind the artist and the social space of the gallery. These links are inscribed upon the wall, as participants record their names with a brush made from the artist’s own hair. Visitors are invited to reach for the stars and come together to produce a collective mark: making real time between hammer and nail, space between nail coordinates, and between walls to, as the artist describes, connect discrete beings for a weathered becoming.

Installed within the space are a number of other works in which Van playfully moves in and out of uncertainty. On one scroll marked on both sides, Van writes about what it would be like to become a mother in desertion, narrating the friction between biology and will. In a suspended mobile, Van invites the audience to attach items onto its precarious levitation of light weights, addressing the desire to find ourselves in relation to one another. Through image-objects, the artist plumbs the process of vision itself, incorporating blurs and washed color that evaluate periphery, suggesting the act of seeing as an open frame for time.

The show is generated through being present together, as this relational and social process is what invokes Van’s cumulative structures. Deeply inhabiting lightness, the artist and her audience move closer and farther within to create a space infinite in motion.