By producing work that lectures but does not necessarily converse with its viewers, DinéYazhí offers visitors a taste of Native peoples’ colonial experience: forever on the receiving end of (often unsolicited) information, of change, of aggression.
Within the materials lies Schenkelberg’s remarkable talent for recapturing wonder. “Symptomatic Constant” is a massive work. It starts as rubble on the marble floor with plaster dust and shards of ceramic, resembling a shore of beach glass, then steadily the work grows up into the high space of the lobby’s ceiling with fabric draped to an old cast-iron heating register. Schenkelberg builds in layers with architectural salvage culled from the site itself as well as local thrifting. Her cultural archeology is distinctive in its details and restless as the whole of her ship-like installation.
* Robert Sparrow Jones *
About her work, Campbell says, “Throughout my artistic career, I have been interested in process and the intersection of nature and culture. Trained as a printmaker, the idea of recording and transferring marks from one thing to another has shaped how I work and see the world to this day. A line can be formed from an insect chewing on a leaf or a backhoe bulldozing a new road through a forest. Both micro and macro views are visual marks on the landscape…My job is to bring a voice to the material.”