Decoration for the End of the World

Norah Lovell, Alison Owen, Sadie Sheldon & 15 Invited Artists

John Barnes, Lee Deigaard, Marianne Desmarais, Natori Green & Wynter Diaz, Sally Heller, Jack Niven, Mary Jane Parker, Alex Podesta, Marta Rodriguez Maleck, Cynthia Scott, Maxx Sizeler, Alexis Stahl, Jenna Turner, Clifton Webb

Exhibition Dates: January 8 - February 6, 2022


Opening Reception: Saturday, January 8, 6-9 pm 

Prospect.5 reception: Friday, January 21, 6-9pm 


Gallery hours are Saturdays and Sundays, 12-5 pm, except for Second Saturdays when hours are 6-9 pm.

Natori Green & Wynter Diaz: Vessel and Rebirth

In the depths of despair there are multiple glitters of hope. As things come to an end, clinging to remnants is not necessary for healing. 

When Mount Vesuvius erupted in 79 AD, the thriving city of Pompeii was frozen in its tracks. Amphitheaters were encased in pumice, but also loaves of bread and small decorative objects, the stockpile of the everyday. Seemingly, an entire populous was engaged in the desire to ornament and accrete until the last possible moment. During this global pandemic and impending climate catastrophe, we are also looking to ornament, refurbish and invent anew against the melancholy backdrop of world-endings. Curated by Norah Lovell, Decoration for the End of the World features installations and individual artworks that elaborate on the decorative realm and often the domestic interior and its furnishings as a locus for meaning-making, and storytelling. As with prior artistic movements like Bauhaus and Bloomsbury these artists reimagine the material world at a tipping pointing with new systems for living and novel ways of making a living.

Pliny the Younger survived the eruption of Vesuvius in 79 A.D. and went on to describe it as a “melancholy accident” in a series of letters. For this segment of the exhibition artists selected an object from a museum diagram of Pompeii artifacts and created a corresponding final ornament for a last day on earth--the leftovers of a melancholy accident. Like a crime scene body chalk, interiors of objects are voided, and contour lines circumscribe an unknown interior. Oracular and simultaneously mute, what stories do they contain, what do they portend? What will we choose to leave behind?