Marie Farrington’s sculptures trace the intimate intersections between history, knowledge and the act of making through an exploration of the subtle forces and entropies contained within materials.  Lending agency to invisible processes to reveal tiny occurrences unfolding in spaces and on surfaces, Farrington’s sculptures act as ephemeral testing grounds that consider ideas of imagehood, tradition and purpose.

The result is that of time arrested momentarily in the process of material expending energy, invoking a spectral presence and a distinctive contingency in objects that drift between their current, provisional forms and the future existence they relentlessly suggest.  While always existing in conversation with the historical trajectories that have birthed them, Farrington’s sculptures are at once a subversion and a making explicit of material, reflecting on the customary subject matter of art history while also exploring how sites and substances may become imbued with value and meaning through time spent in contact with human processes.