November 1 – December 6, 2019
The work of the archivist is the eternal maintenance of innately finite objects— impermanent materials set to deteriorate due to the essential instability of their components. In the field of library and archival science, this tendency is known as “inherent vice.” Through explorations in sculpture, photography, and video, artists Mia Carrera, Lindsay Davis, and Rowan Summers restage this futile task as an elaborate farce. Working within the boundaries of the gallery space, Material Vice examines the tension between preservation and decay.
Material Vice is organized by Mia Carrera, Lindsay Davis, and Rowan Summers, with Center Space Project.
Mia Carrera (b. 1997, San Antonio, Texas) is a fourth-year BFA candidate in Studio Art at The University of Texas at Austin. Influenced by Sartre’s Being and Nothingness and theories on the multiplicity of self, or sub-personalities, her recent interest in the development of sub-personalities as a means of self-preservation has extended beyond interpersonal relationships to focus on acts of bodily preservation, such as plastic surgery and embalming, which result from a denial of the finitude of the self. She explores these ideas through sculpture, painting, and drawing. Material Vice is her first major exhibition.
Lindsay Davis (b. 1998, Plano, Texas) is an undergraduate student at The University of Texas at Austin pursuing a BFA in Studio Art. Through photography, installation sculpture, and ceramics, she explores the ephemeral qualities of human instincts and sensuality, asking how these natural impulses interact with human intellectualization. In 2019, Davis participated in the Learning Tuscany study abroad program at UT-Austin. She is a recipient of the Carolyn Kay “Katy” Davis Centennial Memorial Scholarship and a Professional Development Travel Grant from UT-Austin.
Rowan Summers (b. 1997, Austin, Texas) is an artist and writer pursuing a degree in Studio Art and the Plan II honors program at The University of Texas at Austin. Her work is primarily driven by an interest in abjection, comedy, and ambiguity.