On Being a Porous Boundary

Catherine Fairbanks & Catherine Barnett

November 19, 2024 - February 25, 2025

Hoffman Art Gallery, 615 S. Palatine Hill Road, Portland OR 97219

Co-presented by A-B Projects & Lewis & Clark College

Curated by Nicole Seisler

Opening Reception: November 19, 4-6pm

Artist Talk with Catherine Fairbanks: November 20 2024, 7:30pm in Miller 105

Poetry Reading with Catherine Barnett: February 18 2025, 6pm in Smith Hall

On Being a Porous Boundary

Catherine Fairbanks & Catherine Barnett

November 19, 2024 - February 12, 2025

About the Exhibition


We construct and reconstruct boundaries in order to protect ourselves, to relate to others, to move into and through the world, and for the world to move around and through us. We are, ourselves, volumes of porous boundaries.

Boundaries are necessary and real: strong and protective, hard-edged and cutting, blurry and binding; breachable, fallible; soft, malleable, and breathing; a conduit. To be a porous boundary means that we exist as all of these things, always individually, and often inextricably linked to each other. In her essay Hydrofeminism: Or, On Becoming a Body of Water, Astrida Neimanis posits that “As watery, we experience ourselves less as isolated entities, and more as oceanic eddies: I am a singular, dynamic whorl dissolving in a complex, fluid circulation.

There is pleasure and joy in porosity, in connection; there can be deep discomfort when we lose sight of ourselves, of each other, or when there is a loss so great that grief obliterates (or, perhaps, vastly expands) our boundaries; and there is generative possibility in separation, in the common human experience of loneliness.

What does care look like in the context of this viscous porosity? How do we care for ourselves, for those in our immediate orbit, for strangers? How and when might we choose to hold strangers closely? What amount of fierceness or tenderness is necessary? What seeps through?

On Being a Porous Boundary features immersive paintings, bodily ceramic sculpture, and monumental paper sculpture by Catherine Fairbanks, and intimate poetry by Catherine Barnett, which has been hand-drawn for the exhibition by Nuria Kiesebrink-Pareick.

The exhibition also includes a reading room with a selection of books and resources—curated by Lewis & Clark faculty and staff Daena Goldsmith, Alexis Rehrmann, Kabir Heimsath, Reiko Hillyer, Erica Jensen, and Mary Szybist—that relate to boundaries as seen through the lenses of Narrative Medicine, Anthropology, History, Art, and Literature. The space is intended for classes and the public to gather, ponder, and converse.

About the Artists


Catherine Fairbanks Catherine Fairbanks uses empathy as a foundational structure to bridge her dual practices as an artist and a nurse. In both roles, she is in dialogue with the early 20th century phenomenologist, Edith Stein, for whom empathy was the liberating recognition of infinite difference in the other. This is not empathy as feeling, this is empathy enacted socially as equality and liberation. 

Fairbanks received her MFA from the San Francisco Art Institute and has since attended national and international residencies including Salmon Creek Farm, Skowhegan School of Painting and Sculpture, National Textile Institute in Iceland, and the Wool Factory in Barcelona. Additionally, she makes post-studio ceramic work with the international workers and end of life patients in the Medical ICU at UCLA, which she calls Glazing at the End of Life.  Ground-shifting exhibitions of the past four years include the premier of Chimney Dances, a four-site collaborative work with Dylan Crossman (formerly of Merce Cunningham Dance Company) at the Franklin D. Murphy Sculpture Garden, UCLA, and Pieter Space, in February of 2020; a solo exhibition, Nurses Roses Midnight, at A-B Projects in Los Angeles, 2022; and a solo painting exhibition, Love Loves to Love Love, Nurse Loves the New Chemist at ACP in Los Angeles, Spring 2023. Her solo exhibition, Nurses Under Lakes, opened at M and B Gallery in Los Angeles in October 2024. Fairbanks has received critical acclaim in Artforum, der Freitag, Carla, SFMOMA Openspace, Thick Press, and Artillery.

Catherine Barnett is the author of four poetry collections, including Solutions for the Problem of Bodies in Space (2024 Graywolf); Human Hours (Believer Book Award, New York Times "Best Poetry of 2018" selection); The Game of Boxes (James Laughlin Award); and Into Perfect Spheres Such Holes Are Pierced (Beatrice Hawley Award). Solutions for the Problem of Bodies in Space has been named one of the 5 Best Poetry Collections of 2024 (or a "Best Book of 2024") by Publishers Weekly.

 A Guggenheim and Civitella Ranieri fellow, Barnett received a 2022 Arts and Letters Award in Literature from the American Academy of Arts and Letters and a Whiting Award, among other recognitions. Barnett’s work has been published in the New Yorker, The NY Review of Books, The Yale Review, The Nation, Harper’s, American Poetry Review, and elsewhere. She teaches in NYU's MFA Program and works as an independent editor. 

Logistics


To reserve the reading room and exhibition space for a class meeting, please find availability on our calendar and email Alison Walcott (awalcott@lclark.edu) for a reservation.

For directions to the Hoffman Art Gallery on the Lewis & Clark College campus, enter ‘Fir Acres Theater’ into google maps. This will bring you to the closest parking lot to the gallery, which is a three minute walk away.