At the moment of this writing, the term “sonder” and its definition has only recently begun its course, clinging to the fringes of our ever-expanding lexicon. You will not yet find it in the Oxford or Webster’s dictionary; rather, I found it and its origins in the onlineDictionary of Obscure Sorrows, a collection of newly assembled words that seek to embody the more oblique experiences of (post)modern life. I have appropriated this word for a new series, naming it in its honor.
The exhibition features a large site-specific installation and several related lightbox drawings. The large installation is composed of three layers of translucent textiles, suspended from the ceiling, several feet apart from one another. Each panel bears a text, stamped in ink from top to bottom. The text is strategically layered to render several life-size figures, thus the image is drawn by virtue of applying the text to the material. The translucency of the material allows the viewer to see through parts of the first panel, into the second, while the distance between them allows the viewer to traverse inside the installation.