Calendar

The exhibit features a wide range of stories including the Quinault Nation fighting climate change, water protectors resisting fossil fuel development, Duwamish River stewardship, rising seas threatening Pacific Islands and other coastal communities, Native Hawaiians opposing military installations via traditional ceremony, and local community groups fighting disproportionate airplane noise and pollution on Seattle’s Beacon Hill.

Across multiple geographies and a range of aesthetic approaches—from figurative clay sculpture to audio recordings of the swamp—these artists engage mud as a material or subject that shapes personal and collective histories, memory, and imagination. Each artist brings a distinct perspective to the theme, conjuring dynamics embedded in the landscape that include colonial and racialized forms of dispossession, cultural reclamation, narratives of self-actualization, and ecological loss and adaptation.
Mud moves through the exhibition as a metaphor as well as a tangible material. Both water and earth, mud exists in an in-between state. A medium that dissolves binaries, mud invites a blurring of past and present, personal and political, bodies and landscape, feeling and knowing. In various ways, the artworks in Thick as Mud move across these porous boundaries, disrupting linear narratives and dominant hierarchies that shape which places and stories matter.
Across the artworks, mud becomes an agent of time and transformation and a medium of decomposition and creation. As such, Thick as Mud tracks the afterlives of violence against people and the environment while also evoking the potential for regeneration. The exhibition is an invitation to ask what lives in the mud and to reconnect with the possibilities that this material holds.

The Higo 10 Cents Store, owned by the Murakami family and a social hub in Seattle’s Japantown, has a long and fascinating community and family history. Meet Me at Higo welcomes younger generations to connect with and explore what it means to be Japanese American. Impressive personal photos, journals and artifacts are included in this traveling exhibition. Today, Higo 10 Cents Store (or Higo Variety Store) is KOBO at Higo and is still located at 604 South Jackson Street in Seattle’s Chinatown-International District.

The Lummi House of Tears Carvers along with the Alliance of Earth, Sky & Water Protectors, Catskill Mountainkeeper and the Apache Stronghold welcome you to join their unified effort to bring awareness and prayers for Oak Flat, an Apache holy site. It is through generous contributions that help provide these campaigns internationally, inter-tribally and intergenerationally.

The Lummi House of Tears Carvers gratefully accept donations to help with fuel and food on their cross-country journey. They will join the Alliance of Earth, Sky & Water Protectors to defend traditional Apache lands from Resolution Copper a division of British-Australian mining giant Rio Tinto. According to Apache Stronghold founder Wendsler Nosie Sr., Resolution Copper’s mine will swallow the site in a massive crater and render “longstanding religious practices impossible.”

33 days , 41 stops, and 6497 miles. All stops and gatherings are free and open to the public.

We are excited to celebrate our 4 year Anniversary Pachanga Saturday February 4th! Join us for free activities, comida, prizes and the opening of our February Art Exhibition.
This is our way of saying gracias to our beautiful community for their amazing support these past 4 years. Nepantla is a Nahuatl (Aztec language) term which describes being in the middle or the space in the middle. The term was popularized by Chicana writer/scholar Gloria Anzaldua. Most often the term references endangered communities, cultures or gender who due to colonialism/marginalization or historical trauma, that engage in resistance strategies of survival. Nepantla becomes the alternative space in which to live, heal, function and create.
So what does Nepantla mean to you? We can’t wait to see your art! Email submissions to nepantlaculturalarts@gmail.com

The exhibit features a wide range of stories including the Quinault Nation fighting climate change, water protectors resisting fossil fuel development, Duwamish River stewardship, rising seas threatening Pacific Islands and other coastal communities, Native Hawaiians opposing military installations via traditional ceremony, and local community groups fighting disproportionate airplane noise and pollution on Seattle’s Beacon Hill.

Across multiple geographies and a range of aesthetic approaches—from figurative clay sculpture to audio recordings of the swamp—these artists engage mud as a material or subject that shapes personal and collective histories, memory, and imagination. Each artist brings a distinct perspective to the theme, conjuring dynamics embedded in the landscape that include colonial and racialized forms of dispossession, cultural reclamation, narratives of self-actualization, and ecological loss and adaptation.
Mud moves through the exhibition as a metaphor as well as a tangible material. Both water and earth, mud exists in an in-between state. A medium that dissolves binaries, mud invites a blurring of past and present, personal and political, bodies and landscape, feeling and knowing. In various ways, the artworks in Thick as Mud move across these porous boundaries, disrupting linear narratives and dominant hierarchies that shape which places and stories matter.
Across the artworks, mud becomes an agent of time and transformation and a medium of decomposition and creation. As such, Thick as Mud tracks the afterlives of violence against people and the environment while also evoking the potential for regeneration. The exhibition is an invitation to ask what lives in the mud and to reconnect with the possibilities that this material holds.

The Lummi House of Tears Carvers along with the Alliance of Earth, Sky & Water Protectors, Catskill Mountainkeeper and the Apache Stronghold welcome you to join their unified effort to bring awareness and prayers for Oak Flat, an Apache holy site. It is through generous contributions that help provide these campaigns internationally, inter-tribally and intergenerationally.

The Lummi House of Tears Carvers gratefully accept donations to help with fuel and food on their cross-country journey. They will join the Alliance of Earth, Sky & Water Protectors to defend traditional Apache lands from Resolution Copper a division of British-Australian mining giant Rio Tinto. According to Apache Stronghold founder Wendsler Nosie Sr., Resolution Copper’s mine will swallow the site in a massive crater and render “longstanding religious practices impossible.”

33 days , 41 stops, and 6497 miles. All stops and gatherings are free and open to the public.

The exhibit features a wide range of stories including the Quinault Nation fighting climate change, water protectors resisting fossil fuel development, Duwamish River stewardship, rising seas threatening Pacific Islands and other coastal communities, Native Hawaiians opposing military installations via traditional ceremony, and local community groups fighting disproportionate airplane noise and pollution on Seattle’s Beacon Hill.

Across multiple geographies and a range of aesthetic approaches—from figurative clay sculpture to audio recordings of the swamp—these artists engage mud as a material or subject that shapes personal and collective histories, memory, and imagination. Each artist brings a distinct perspective to the theme, conjuring dynamics embedded in the landscape that include colonial and racialized forms of dispossession, cultural reclamation, narratives of self-actualization, and ecological loss and adaptation.
Mud moves through the exhibition as a metaphor as well as a tangible material. Both water and earth, mud exists in an in-between state. A medium that dissolves binaries, mud invites a blurring of past and present, personal and political, bodies and landscape, feeling and knowing. In various ways, the artworks in Thick as Mud move across these porous boundaries, disrupting linear narratives and dominant hierarchies that shape which places and stories matter.
Across the artworks, mud becomes an agent of time and transformation and a medium of decomposition and creation. As such, Thick as Mud tracks the afterlives of violence against people and the environment while also evoking the potential for regeneration. The exhibition is an invitation to ask what lives in the mud and to reconnect with the possibilities that this material holds.

The Lummi House of Tears Carvers along with the Alliance of Earth, Sky & Water Protectors, Catskill Mountainkeeper and the Apache Stronghold welcome you to join their unified effort to bring awareness and prayers for Oak Flat, an Apache holy site. It is through generous contributions that help provide these campaigns internationally, inter-tribally and intergenerationally.

The Lummi House of Tears Carvers gratefully accept donations to help with fuel and food on their cross-country journey. They will join the Alliance of Earth, Sky & Water Protectors to defend traditional Apache lands from Resolution Copper a division of British-Australian mining giant Rio Tinto. According to Apache Stronghold founder Wendsler Nosie Sr., Resolution Copper’s mine will swallow the site in a massive crater and render “longstanding religious practices impossible.”

33 days , 41 stops, and 6497 miles. All stops and gatherings are free and open to the public.

The exhibit features a wide range of stories including the Quinault Nation fighting climate change, water protectors resisting fossil fuel development, Duwamish River stewardship, rising seas threatening Pacific Islands and other coastal communities, Native Hawaiians opposing military installations via traditional ceremony, and local community groups fighting disproportionate airplane noise and pollution on Seattle’s Beacon Hill.

Across multiple geographies and a range of aesthetic approaches—from figurative clay sculpture to audio recordings of the swamp—these artists engage mud as a material or subject that shapes personal and collective histories, memory, and imagination. Each artist brings a distinct perspective to the theme, conjuring dynamics embedded in the landscape that include colonial and racialized forms of dispossession, cultural reclamation, narratives of self-actualization, and ecological loss and adaptation.
Mud moves through the exhibition as a metaphor as well as a tangible material. Both water and earth, mud exists in an in-between state. A medium that dissolves binaries, mud invites a blurring of past and present, personal and political, bodies and landscape, feeling and knowing. In various ways, the artworks in Thick as Mud move across these porous boundaries, disrupting linear narratives and dominant hierarchies that shape which places and stories matter.
Across the artworks, mud becomes an agent of time and transformation and a medium of decomposition and creation. As such, Thick as Mud tracks the afterlives of violence against people and the environment while also evoking the potential for regeneration. The exhibition is an invitation to ask what lives in the mud and to reconnect with the possibilities that this material holds.

The Lummi House of Tears Carvers along with the Alliance of Earth, Sky & Water Protectors, Catskill Mountainkeeper and the Apache Stronghold welcome you to join their unified effort to bring awareness and prayers for Oak Flat, an Apache holy site. It is through generous contributions that help provide these campaigns internationally, inter-tribally and intergenerationally.

The Lummi House of Tears Carvers gratefully accept donations to help with fuel and food on their cross-country journey. They will join the Alliance of Earth, Sky & Water Protectors to defend traditional Apache lands from Resolution Copper a division of British-Australian mining giant Rio Tinto. According to Apache Stronghold founder Wendsler Nosie Sr., Resolution Copper’s mine will swallow the site in a massive crater and render “longstanding religious practices impossible.”

33 days , 41 stops, and 6497 miles. All stops and gatherings are free and open to the public.

The exhibit features a wide range of stories including the Quinault Nation fighting climate change, water protectors resisting fossil fuel development, Duwamish River stewardship, rising seas threatening Pacific Islands and other coastal communities, Native Hawaiians opposing military installations via traditional ceremony, and local community groups fighting disproportionate airplane noise and pollution on Seattle’s Beacon Hill.

Across multiple geographies and a range of aesthetic approaches—from figurative clay sculpture to audio recordings of the swamp—these artists engage mud as a material or subject that shapes personal and collective histories, memory, and imagination. Each artist brings a distinct perspective to the theme, conjuring dynamics embedded in the landscape that include colonial and racialized forms of dispossession, cultural reclamation, narratives of self-actualization, and ecological loss and adaptation.
Mud moves through the exhibition as a metaphor as well as a tangible material. Both water and earth, mud exists in an in-between state. A medium that dissolves binaries, mud invites a blurring of past and present, personal and political, bodies and landscape, feeling and knowing. In various ways, the artworks in Thick as Mud move across these porous boundaries, disrupting linear narratives and dominant hierarchies that shape which places and stories matter.
Across the artworks, mud becomes an agent of time and transformation and a medium of decomposition and creation. As such, Thick as Mud tracks the afterlives of violence against people and the environment while also evoking the potential for regeneration. The exhibition is an invitation to ask what lives in the mud and to reconnect with the possibilities that this material holds.

The Lummi House of Tears Carvers along with the Alliance of Earth, Sky & Water Protectors, Catskill Mountainkeeper and the Apache Stronghold welcome you to join their unified effort to bring awareness and prayers for Oak Flat, an Apache holy site. It is through generous contributions that help provide these campaigns internationally, inter-tribally and intergenerationally.

The Lummi House of Tears Carvers gratefully accept donations to help with fuel and food on their cross-country journey. They will join the Alliance of Earth, Sky & Water Protectors to defend traditional Apache lands from Resolution Copper a division of British-Australian mining giant Rio Tinto. According to Apache Stronghold founder Wendsler Nosie Sr., Resolution Copper’s mine will swallow the site in a massive crater and render “longstanding religious practices impossible.”

33 days , 41 stops, and 6497 miles. All stops and gatherings are free and open to the public.

From Michelle Zauner, the indie rock sensation known as Japanese Breakfast, Crying in H Mart is an unforgettable memoir about family, food, grief, love, and growing up Korean American. Join us for a special SAL Presents conversation with Michelle Zauner, celebrating the memoir’s paperback publication.

Create Your Own Series subscriptions, as well as Patron and Grand Patron single tickets, come with a copy of Crying in H Mart, shipped to the ticket holder’s door.

The exhibit features a wide range of stories including the Quinault Nation fighting climate change, water protectors resisting fossil fuel development, Duwamish River stewardship, rising seas threatening Pacific Islands and other coastal communities, Native Hawaiians opposing military installations via traditional ceremony, and local community groups fighting disproportionate airplane noise and pollution on Seattle’s Beacon Hill.

Across multiple geographies and a range of aesthetic approaches—from figurative clay sculpture to audio recordings of the swamp—these artists engage mud as a material or subject that shapes personal and collective histories, memory, and imagination. Each artist brings a distinct perspective to the theme, conjuring dynamics embedded in the landscape that include colonial and racialized forms of dispossession, cultural reclamation, narratives of self-actualization, and ecological loss and adaptation.
Mud moves through the exhibition as a metaphor as well as a tangible material. Both water and earth, mud exists in an in-between state. A medium that dissolves binaries, mud invites a blurring of past and present, personal and political, bodies and landscape, feeling and knowing. In various ways, the artworks in Thick as Mud move across these porous boundaries, disrupting linear narratives and dominant hierarchies that shape which places and stories matter.
Across the artworks, mud becomes an agent of time and transformation and a medium of decomposition and creation. As such, Thick as Mud tracks the afterlives of violence against people and the environment while also evoking the potential for regeneration. The exhibition is an invitation to ask what lives in the mud and to reconnect with the possibilities that this material holds.

The Lummi House of Tears Carvers along with the Alliance of Earth, Sky & Water Protectors, Catskill Mountainkeeper and the Apache Stronghold welcome you to join their unified effort to bring awareness and prayers for Oak Flat, an Apache holy site. It is through generous contributions that help provide these campaigns internationally, inter-tribally and intergenerationally.

The Lummi House of Tears Carvers gratefully accept donations to help with fuel and food on their cross-country journey. They will join the Alliance of Earth, Sky & Water Protectors to defend traditional Apache lands from Resolution Copper a division of British-Australian mining giant Rio Tinto. According to Apache Stronghold founder Wendsler Nosie Sr., Resolution Copper’s mine will swallow the site in a massive crater and render “longstanding religious practices impossible.”

33 days , 41 stops, and 6497 miles. All stops and gatherings are free and open to the public.

With an early and a late show
Early show Doors at 6:00 PM/Showtime 6:30 PM
Late show Doors at 8:30/Showtime 9:00 PM
Join us as we cheer on the newest class of #ShowTHEM Burlesque Basics at The Give Inn in Ballard.
Featuring our cohort of 12 burlesque humans ready to take the stage and #Show you what they’ve been working on these past 8+ weeks.
With your emcees Mx. Pucks A’Plenty and Lavish Leone
Please be ready to show ID at the door. Masking is still strongly encouraged.

The exhibit features a wide range of stories including the Quinault Nation fighting climate change, water protectors resisting fossil fuel development, Duwamish River stewardship, rising seas threatening Pacific Islands and other coastal communities, Native Hawaiians opposing military installations via traditional ceremony, and local community groups fighting disproportionate airplane noise and pollution on Seattle’s Beacon Hill.

Across multiple geographies and a range of aesthetic approaches—from figurative clay sculpture to audio recordings of the swamp—these artists engage mud as a material or subject that shapes personal and collective histories, memory, and imagination. Each artist brings a distinct perspective to the theme, conjuring dynamics embedded in the landscape that include colonial and racialized forms of dispossession, cultural reclamation, narratives of self-actualization, and ecological loss and adaptation.
Mud moves through the exhibition as a metaphor as well as a tangible material. Both water and earth, mud exists in an in-between state. A medium that dissolves binaries, mud invites a blurring of past and present, personal and political, bodies and landscape, feeling and knowing. In various ways, the artworks in Thick as Mud move across these porous boundaries, disrupting linear narratives and dominant hierarchies that shape which places and stories matter.
Across the artworks, mud becomes an agent of time and transformation and a medium of decomposition and creation. As such, Thick as Mud tracks the afterlives of violence against people and the environment while also evoking the potential for regeneration. The exhibition is an invitation to ask what lives in the mud and to reconnect with the possibilities that this material holds.

The Lummi House of Tears Carvers along with the Alliance of Earth, Sky & Water Protectors, Catskill Mountainkeeper and the Apache Stronghold welcome you to join their unified effort to bring awareness and prayers for Oak Flat, an Apache holy site. It is through generous contributions that help provide these campaigns internationally, inter-tribally and intergenerationally.

The Lummi House of Tears Carvers gratefully accept donations to help with fuel and food on their cross-country journey. They will join the Alliance of Earth, Sky & Water Protectors to defend traditional Apache lands from Resolution Copper a division of British-Australian mining giant Rio Tinto. According to Apache Stronghold founder Wendsler Nosie Sr., Resolution Copper’s mine will swallow the site in a massive crater and render “longstanding religious practices impossible.”

33 days , 41 stops, and 6497 miles. All stops and gatherings are free and open to the public.

The exhibit features a wide range of stories including the Quinault Nation fighting climate change, water protectors resisting fossil fuel development, Duwamish River stewardship, rising seas threatening Pacific Islands and other coastal communities, Native Hawaiians opposing military installations via traditional ceremony, and local community groups fighting disproportionate airplane noise and pollution on Seattle’s Beacon Hill.

Across multiple geographies and a range of aesthetic approaches—from figurative clay sculpture to audio recordings of the swamp—these artists engage mud as a material or subject that shapes personal and collective histories, memory, and imagination. Each artist brings a distinct perspective to the theme, conjuring dynamics embedded in the landscape that include colonial and racialized forms of dispossession, cultural reclamation, narratives of self-actualization, and ecological loss and adaptation.
Mud moves through the exhibition as a metaphor as well as a tangible material. Both water and earth, mud exists in an in-between state. A medium that dissolves binaries, mud invites a blurring of past and present, personal and political, bodies and landscape, feeling and knowing. In various ways, the artworks in Thick as Mud move across these porous boundaries, disrupting linear narratives and dominant hierarchies that shape which places and stories matter.
Across the artworks, mud becomes an agent of time and transformation and a medium of decomposition and creation. As such, Thick as Mud tracks the afterlives of violence against people and the environment while also evoking the potential for regeneration. The exhibition is an invitation to ask what lives in the mud and to reconnect with the possibilities that this material holds.

The exhibit features a wide range of stories including the Quinault Nation fighting climate change, water protectors resisting fossil fuel development, Duwamish River stewardship, rising seas threatening Pacific Islands and other coastal communities, Native Hawaiians opposing military installations via traditional ceremony, and local community groups fighting disproportionate airplane noise and pollution on Seattle’s Beacon Hill.

Across multiple geographies and a range of aesthetic approaches—from figurative clay sculpture to audio recordings of the swamp—these artists engage mud as a material or subject that shapes personal and collective histories, memory, and imagination. Each artist brings a distinct perspective to the theme, conjuring dynamics embedded in the landscape that include colonial and racialized forms of dispossession, cultural reclamation, narratives of self-actualization, and ecological loss and adaptation.
Mud moves through the exhibition as a metaphor as well as a tangible material. Both water and earth, mud exists in an in-between state. A medium that dissolves binaries, mud invites a blurring of past and present, personal and political, bodies and landscape, feeling and knowing. In various ways, the artworks in Thick as Mud move across these porous boundaries, disrupting linear narratives and dominant hierarchies that shape which places and stories matter.
Across the artworks, mud becomes an agent of time and transformation and a medium of decomposition and creation. As such, Thick as Mud tracks the afterlives of violence against people and the environment while also evoking the potential for regeneration. The exhibition is an invitation to ask what lives in the mud and to reconnect with the possibilities that this material holds.

The exhibit features a wide range of stories including the Quinault Nation fighting climate change, water protectors resisting fossil fuel development, Duwamish River stewardship, rising seas threatening Pacific Islands and other coastal communities, Native Hawaiians opposing military installations via traditional ceremony, and local community groups fighting disproportionate airplane noise and pollution on Seattle’s Beacon Hill.

Across multiple geographies and a range of aesthetic approaches—from figurative clay sculpture to audio recordings of the swamp—these artists engage mud as a material or subject that shapes personal and collective histories, memory, and imagination. Each artist brings a distinct perspective to the theme, conjuring dynamics embedded in the landscape that include colonial and racialized forms of dispossession, cultural reclamation, narratives of self-actualization, and ecological loss and adaptation.
Mud moves through the exhibition as a metaphor as well as a tangible material. Both water and earth, mud exists in an in-between state. A medium that dissolves binaries, mud invites a blurring of past and present, personal and political, bodies and landscape, feeling and knowing. In various ways, the artworks in Thick as Mud move across these porous boundaries, disrupting linear narratives and dominant hierarchies that shape which places and stories matter.
Across the artworks, mud becomes an agent of time and transformation and a medium of decomposition and creation. As such, Thick as Mud tracks the afterlives of violence against people and the environment while also evoking the potential for regeneration. The exhibition is an invitation to ask what lives in the mud and to reconnect with the possibilities that this material holds.

The exhibit features a wide range of stories including the Quinault Nation fighting climate change, water protectors resisting fossil fuel development, Duwamish River stewardship, rising seas threatening Pacific Islands and other coastal communities, Native Hawaiians opposing military installations via traditional ceremony, and local community groups fighting disproportionate airplane noise and pollution on Seattle’s Beacon Hill.

Across multiple geographies and a range of aesthetic approaches—from figurative clay sculpture to audio recordings of the swamp—these artists engage mud as a material or subject that shapes personal and collective histories, memory, and imagination. Each artist brings a distinct perspective to the theme, conjuring dynamics embedded in the landscape that include colonial and racialized forms of dispossession, cultural reclamation, narratives of self-actualization, and ecological loss and adaptation.
Mud moves through the exhibition as a metaphor as well as a tangible material. Both water and earth, mud exists in an in-between state. A medium that dissolves binaries, mud invites a blurring of past and present, personal and political, bodies and landscape, feeling and knowing. In various ways, the artworks in Thick as Mud move across these porous boundaries, disrupting linear narratives and dominant hierarchies that shape which places and stories matter.
Across the artworks, mud becomes an agent of time and transformation and a medium of decomposition and creation. As such, Thick as Mud tracks the afterlives of violence against people and the environment while also evoking the potential for regeneration. The exhibition is an invitation to ask what lives in the mud and to reconnect with the possibilities that this material holds.

The exhibit features a wide range of stories including the Quinault Nation fighting climate change, water protectors resisting fossil fuel development, Duwamish River stewardship, rising seas threatening Pacific Islands and other coastal communities, Native Hawaiians opposing military installations via traditional ceremony, and local community groups fighting disproportionate airplane noise and pollution on Seattle’s Beacon Hill.

Across multiple geographies and a range of aesthetic approaches—from figurative clay sculpture to audio recordings of the swamp—these artists engage mud as a material or subject that shapes personal and collective histories, memory, and imagination. Each artist brings a distinct perspective to the theme, conjuring dynamics embedded in the landscape that include colonial and racialized forms of dispossession, cultural reclamation, narratives of self-actualization, and ecological loss and adaptation.
Mud moves through the exhibition as a metaphor as well as a tangible material. Both water and earth, mud exists in an in-between state. A medium that dissolves binaries, mud invites a blurring of past and present, personal and political, bodies and landscape, feeling and knowing. In various ways, the artworks in Thick as Mud move across these porous boundaries, disrupting linear narratives and dominant hierarchies that shape which places and stories matter.
Across the artworks, mud becomes an agent of time and transformation and a medium of decomposition and creation. As such, Thick as Mud tracks the afterlives of violence against people and the environment while also evoking the potential for regeneration. The exhibition is an invitation to ask what lives in the mud and to reconnect with the possibilities that this material holds.

The exhibit features a wide range of stories including the Quinault Nation fighting climate change, water protectors resisting fossil fuel development, Duwamish River stewardship, rising seas threatening Pacific Islands and other coastal communities, Native Hawaiians opposing military installations via traditional ceremony, and local community groups fighting disproportionate airplane noise and pollution on Seattle’s Beacon Hill.

Across multiple geographies and a range of aesthetic approaches—from figurative clay sculpture to audio recordings of the swamp—these artists engage mud as a material or subject that shapes personal and collective histories, memory, and imagination. Each artist brings a distinct perspective to the theme, conjuring dynamics embedded in the landscape that include colonial and racialized forms of dispossession, cultural reclamation, narratives of self-actualization, and ecological loss and adaptation.
Mud moves through the exhibition as a metaphor as well as a tangible material. Both water and earth, mud exists in an in-between state. A medium that dissolves binaries, mud invites a blurring of past and present, personal and political, bodies and landscape, feeling and knowing. In various ways, the artworks in Thick as Mud move across these porous boundaries, disrupting linear narratives and dominant hierarchies that shape which places and stories matter.
Across the artworks, mud becomes an agent of time and transformation and a medium of decomposition and creation. As such, Thick as Mud tracks the afterlives of violence against people and the environment while also evoking the potential for regeneration. The exhibition is an invitation to ask what lives in the mud and to reconnect with the possibilities that this material holds.

The exhibit features a wide range of stories including the Quinault Nation fighting climate change, water protectors resisting fossil fuel development, Duwamish River stewardship, rising seas threatening Pacific Islands and other coastal communities, Native Hawaiians opposing military installations via traditional ceremony, and local community groups fighting disproportionate airplane noise and pollution on Seattle’s Beacon Hill.

Across multiple geographies and a range of aesthetic approaches—from figurative clay sculpture to audio recordings of the swamp—these artists engage mud as a material or subject that shapes personal and collective histories, memory, and imagination. Each artist brings a distinct perspective to the theme, conjuring dynamics embedded in the landscape that include colonial and racialized forms of dispossession, cultural reclamation, narratives of self-actualization, and ecological loss and adaptation.
Mud moves through the exhibition as a metaphor as well as a tangible material. Both water and earth, mud exists in an in-between state. A medium that dissolves binaries, mud invites a blurring of past and present, personal and political, bodies and landscape, feeling and knowing. In various ways, the artworks in Thick as Mud move across these porous boundaries, disrupting linear narratives and dominant hierarchies that shape which places and stories matter.
Across the artworks, mud becomes an agent of time and transformation and a medium of decomposition and creation. As such, Thick as Mud tracks the afterlives of violence against people and the environment while also evoking the potential for regeneration. The exhibition is an invitation to ask what lives in the mud and to reconnect with the possibilities that this material holds.

The exhibit features a wide range of stories including the Quinault Nation fighting climate change, water protectors resisting fossil fuel development, Duwamish River stewardship, rising seas threatening Pacific Islands and other coastal communities, Native Hawaiians opposing military installations via traditional ceremony, and local community groups fighting disproportionate airplane noise and pollution on Seattle’s Beacon Hill.

Across multiple geographies and a range of aesthetic approaches—from figurative clay sculpture to audio recordings of the swamp—these artists engage mud as a material or subject that shapes personal and collective histories, memory, and imagination. Each artist brings a distinct perspective to the theme, conjuring dynamics embedded in the landscape that include colonial and racialized forms of dispossession, cultural reclamation, narratives of self-actualization, and ecological loss and adaptation.
Mud moves through the exhibition as a metaphor as well as a tangible material. Both water and earth, mud exists in an in-between state. A medium that dissolves binaries, mud invites a blurring of past and present, personal and political, bodies and landscape, feeling and knowing. In various ways, the artworks in Thick as Mud move across these porous boundaries, disrupting linear narratives and dominant hierarchies that shape which places and stories matter.
Across the artworks, mud becomes an agent of time and transformation and a medium of decomposition and creation. As such, Thick as Mud tracks the afterlives of violence against people and the environment while also evoking the potential for regeneration. The exhibition is an invitation to ask what lives in the mud and to reconnect with the possibilities that this material holds.

The exhibit features a wide range of stories including the Quinault Nation fighting climate change, water protectors resisting fossil fuel development, Duwamish River stewardship, rising seas threatening Pacific Islands and other coastal communities, Native Hawaiians opposing military installations via traditional ceremony, and local community groups fighting disproportionate airplane noise and pollution on Seattle’s Beacon Hill.

Across multiple geographies and a range of aesthetic approaches—from figurative clay sculpture to audio recordings of the swamp—these artists engage mud as a material or subject that shapes personal and collective histories, memory, and imagination. Each artist brings a distinct perspective to the theme, conjuring dynamics embedded in the landscape that include colonial and racialized forms of dispossession, cultural reclamation, narratives of self-actualization, and ecological loss and adaptation.
Mud moves through the exhibition as a metaphor as well as a tangible material. Both water and earth, mud exists in an in-between state. A medium that dissolves binaries, mud invites a blurring of past and present, personal and political, bodies and landscape, feeling and knowing. In various ways, the artworks in Thick as Mud move across these porous boundaries, disrupting linear narratives and dominant hierarchies that shape which places and stories matter.
Across the artworks, mud becomes an agent of time and transformation and a medium of decomposition and creation. As such, Thick as Mud tracks the afterlives of violence against people and the environment while also evoking the potential for regeneration. The exhibition is an invitation to ask what lives in the mud and to reconnect with the possibilities that this material holds.

The exhibit features a wide range of stories including the Quinault Nation fighting climate change, water protectors resisting fossil fuel development, Duwamish River stewardship, rising seas threatening Pacific Islands and other coastal communities, Native Hawaiians opposing military installations via traditional ceremony, and local community groups fighting disproportionate airplane noise and pollution on Seattle’s Beacon Hill.

Across multiple geographies and a range of aesthetic approaches—from figurative clay sculpture to audio recordings of the swamp—these artists engage mud as a material or subject that shapes personal and collective histories, memory, and imagination. Each artist brings a distinct perspective to the theme, conjuring dynamics embedded in the landscape that include colonial and racialized forms of dispossession, cultural reclamation, narratives of self-actualization, and ecological loss and adaptation.
Mud moves through the exhibition as a metaphor as well as a tangible material. Both water and earth, mud exists in an in-between state. A medium that dissolves binaries, mud invites a blurring of past and present, personal and political, bodies and landscape, feeling and knowing. In various ways, the artworks in Thick as Mud move across these porous boundaries, disrupting linear narratives and dominant hierarchies that shape which places and stories matter.
Across the artworks, mud becomes an agent of time and transformation and a medium of decomposition and creation. As such, Thick as Mud tracks the afterlives of violence against people and the environment while also evoking the potential for regeneration. The exhibition is an invitation to ask what lives in the mud and to reconnect with the possibilities that this material holds.

The exhibit features a wide range of stories including the Quinault Nation fighting climate change, water protectors resisting fossil fuel development, Duwamish River stewardship, rising seas threatening Pacific Islands and other coastal communities, Native Hawaiians opposing military installations via traditional ceremony, and local community groups fighting disproportionate airplane noise and pollution on Seattle’s Beacon Hill.

Across multiple geographies and a range of aesthetic approaches—from figurative clay sculpture to audio recordings of the swamp—these artists engage mud as a material or subject that shapes personal and collective histories, memory, and imagination. Each artist brings a distinct perspective to the theme, conjuring dynamics embedded in the landscape that include colonial and racialized forms of dispossession, cultural reclamation, narratives of self-actualization, and ecological loss and adaptation.
Mud moves through the exhibition as a metaphor as well as a tangible material. Both water and earth, mud exists in an in-between state. A medium that dissolves binaries, mud invites a blurring of past and present, personal and political, bodies and landscape, feeling and knowing. In various ways, the artworks in Thick as Mud move across these porous boundaries, disrupting linear narratives and dominant hierarchies that shape which places and stories matter.
Across the artworks, mud becomes an agent of time and transformation and a medium of decomposition and creation. As such, Thick as Mud tracks the afterlives of violence against people and the environment while also evoking the potential for regeneration. The exhibition is an invitation to ask what lives in the mud and to reconnect with the possibilities that this material holds.

The exhibit features a wide range of stories including the Quinault Nation fighting climate change, water protectors resisting fossil fuel development, Duwamish River stewardship, rising seas threatening Pacific Islands and other coastal communities, Native Hawaiians opposing military installations via traditional ceremony, and local community groups fighting disproportionate airplane noise and pollution on Seattle’s Beacon Hill.

Across multiple geographies and a range of aesthetic approaches—from figurative clay sculpture to audio recordings of the swamp—these artists engage mud as a material or subject that shapes personal and collective histories, memory, and imagination. Each artist brings a distinct perspective to the theme, conjuring dynamics embedded in the landscape that include colonial and racialized forms of dispossession, cultural reclamation, narratives of self-actualization, and ecological loss and adaptation.
Mud moves through the exhibition as a metaphor as well as a tangible material. Both water and earth, mud exists in an in-between state. A medium that dissolves binaries, mud invites a blurring of past and present, personal and political, bodies and landscape, feeling and knowing. In various ways, the artworks in Thick as Mud move across these porous boundaries, disrupting linear narratives and dominant hierarchies that shape which places and stories matter.
Across the artworks, mud becomes an agent of time and transformation and a medium of decomposition and creation. As such, Thick as Mud tracks the afterlives of violence against people and the environment while also evoking the potential for regeneration. The exhibition is an invitation to ask what lives in the mud and to reconnect with the possibilities that this material holds.

The exhibit features a wide range of stories including the Quinault Nation fighting climate change, water protectors resisting fossil fuel development, Duwamish River stewardship, rising seas threatening Pacific Islands and other coastal communities, Native Hawaiians opposing military installations via traditional ceremony, and local community groups fighting disproportionate airplane noise and pollution on Seattle’s Beacon Hill.

Across multiple geographies and a range of aesthetic approaches—from figurative clay sculpture to audio recordings of the swamp—these artists engage mud as a material or subject that shapes personal and collective histories, memory, and imagination. Each artist brings a distinct perspective to the theme, conjuring dynamics embedded in the landscape that include colonial and racialized forms of dispossession, cultural reclamation, narratives of self-actualization, and ecological loss and adaptation.
Mud moves through the exhibition as a metaphor as well as a tangible material. Both water and earth, mud exists in an in-between state. A medium that dissolves binaries, mud invites a blurring of past and present, personal and political, bodies and landscape, feeling and knowing. In various ways, the artworks in Thick as Mud move across these porous boundaries, disrupting linear narratives and dominant hierarchies that shape which places and stories matter.
Across the artworks, mud becomes an agent of time and transformation and a medium of decomposition and creation. As such, Thick as Mud tracks the afterlives of violence against people and the environment while also evoking the potential for regeneration. The exhibition is an invitation to ask what lives in the mud and to reconnect with the possibilities that this material holds.

The exhibit features a wide range of stories including the Quinault Nation fighting climate change, water protectors resisting fossil fuel development, Duwamish River stewardship, rising seas threatening Pacific Islands and other coastal communities, Native Hawaiians opposing military installations via traditional ceremony, and local community groups fighting disproportionate airplane noise and pollution on Seattle’s Beacon Hill.

Across multiple geographies and a range of aesthetic approaches—from figurative clay sculpture to audio recordings of the swamp—these artists engage mud as a material or subject that shapes personal and collective histories, memory, and imagination. Each artist brings a distinct perspective to the theme, conjuring dynamics embedded in the landscape that include colonial and racialized forms of dispossession, cultural reclamation, narratives of self-actualization, and ecological loss and adaptation.
Mud moves through the exhibition as a metaphor as well as a tangible material. Both water and earth, mud exists in an in-between state. A medium that dissolves binaries, mud invites a blurring of past and present, personal and political, bodies and landscape, feeling and knowing. In various ways, the artworks in Thick as Mud move across these porous boundaries, disrupting linear narratives and dominant hierarchies that shape which places and stories matter.
Across the artworks, mud becomes an agent of time and transformation and a medium of decomposition and creation. As such, Thick as Mud tracks the afterlives of violence against people and the environment while also evoking the potential for regeneration. The exhibition is an invitation to ask what lives in the mud and to reconnect with the possibilities that this material holds.

The exhibit features a wide range of stories including the Quinault Nation fighting climate change, water protectors resisting fossil fuel development, Duwamish River stewardship, rising seas threatening Pacific Islands and other coastal communities, Native Hawaiians opposing military installations via traditional ceremony, and local community groups fighting disproportionate airplane noise and pollution on Seattle’s Beacon Hill.

Across multiple geographies and a range of aesthetic approaches—from figurative clay sculpture to audio recordings of the swamp—these artists engage mud as a material or subject that shapes personal and collective histories, memory, and imagination. Each artist brings a distinct perspective to the theme, conjuring dynamics embedded in the landscape that include colonial and racialized forms of dispossession, cultural reclamation, narratives of self-actualization, and ecological loss and adaptation.
Mud moves through the exhibition as a metaphor as well as a tangible material. Both water and earth, mud exists in an in-between state. A medium that dissolves binaries, mud invites a blurring of past and present, personal and political, bodies and landscape, feeling and knowing. In various ways, the artworks in Thick as Mud move across these porous boundaries, disrupting linear narratives and dominant hierarchies that shape which places and stories matter.
Across the artworks, mud becomes an agent of time and transformation and a medium of decomposition and creation. As such, Thick as Mud tracks the afterlives of violence against people and the environment while also evoking the potential for regeneration. The exhibition is an invitation to ask what lives in the mud and to reconnect with the possibilities that this material holds.

The exhibit features a wide range of stories including the Quinault Nation fighting climate change, water protectors resisting fossil fuel development, Duwamish River stewardship, rising seas threatening Pacific Islands and other coastal communities, Native Hawaiians opposing military installations via traditional ceremony, and local community groups fighting disproportionate airplane noise and pollution on Seattle’s Beacon Hill.

Across multiple geographies and a range of aesthetic approaches—from figurative clay sculpture to audio recordings of the swamp—these artists engage mud as a material or subject that shapes personal and collective histories, memory, and imagination. Each artist brings a distinct perspective to the theme, conjuring dynamics embedded in the landscape that include colonial and racialized forms of dispossession, cultural reclamation, narratives of self-actualization, and ecological loss and adaptation.
Mud moves through the exhibition as a metaphor as well as a tangible material. Both water and earth, mud exists in an in-between state. A medium that dissolves binaries, mud invites a blurring of past and present, personal and political, bodies and landscape, feeling and knowing. In various ways, the artworks in Thick as Mud move across these porous boundaries, disrupting linear narratives and dominant hierarchies that shape which places and stories matter.
Across the artworks, mud becomes an agent of time and transformation and a medium of decomposition and creation. As such, Thick as Mud tracks the afterlives of violence against people and the environment while also evoking the potential for regeneration. The exhibition is an invitation to ask what lives in the mud and to reconnect with the possibilities that this material holds.

The exhibit features a wide range of stories including the Quinault Nation fighting climate change, water protectors resisting fossil fuel development, Duwamish River stewardship, rising seas threatening Pacific Islands and other coastal communities, Native Hawaiians opposing military installations via traditional ceremony, and local community groups fighting disproportionate airplane noise and pollution on Seattle’s Beacon Hill.

Across multiple geographies and a range of aesthetic approaches—from figurative clay sculpture to audio recordings of the swamp—these artists engage mud as a material or subject that shapes personal and collective histories, memory, and imagination. Each artist brings a distinct perspective to the theme, conjuring dynamics embedded in the landscape that include colonial and racialized forms of dispossession, cultural reclamation, narratives of self-actualization, and ecological loss and adaptation.
Mud moves through the exhibition as a metaphor as well as a tangible material. Both water and earth, mud exists in an in-between state. A medium that dissolves binaries, mud invites a blurring of past and present, personal and political, bodies and landscape, feeling and knowing. In various ways, the artworks in Thick as Mud move across these porous boundaries, disrupting linear narratives and dominant hierarchies that shape which places and stories matter.
Across the artworks, mud becomes an agent of time and transformation and a medium of decomposition and creation. As such, Thick as Mud tracks the afterlives of violence against people and the environment while also evoking the potential for regeneration. The exhibition is an invitation to ask what lives in the mud and to reconnect with the possibilities that this material holds.

The exhibit features a wide range of stories including the Quinault Nation fighting climate change, water protectors resisting fossil fuel development, Duwamish River stewardship, rising seas threatening Pacific Islands and other coastal communities, Native Hawaiians opposing military installations via traditional ceremony, and local community groups fighting disproportionate airplane noise and pollution on Seattle’s Beacon Hill.

Across multiple geographies and a range of aesthetic approaches—from figurative clay sculpture to audio recordings of the swamp—these artists engage mud as a material or subject that shapes personal and collective histories, memory, and imagination. Each artist brings a distinct perspective to the theme, conjuring dynamics embedded in the landscape that include colonial and racialized forms of dispossession, cultural reclamation, narratives of self-actualization, and ecological loss and adaptation.
Mud moves through the exhibition as a metaphor as well as a tangible material. Both water and earth, mud exists in an in-between state. A medium that dissolves binaries, mud invites a blurring of past and present, personal and political, bodies and landscape, feeling and knowing. In various ways, the artworks in Thick as Mud move across these porous boundaries, disrupting linear narratives and dominant hierarchies that shape which places and stories matter.
Across the artworks, mud becomes an agent of time and transformation and a medium of decomposition and creation. As such, Thick as Mud tracks the afterlives of violence against people and the environment while also evoking the potential for regeneration. The exhibition is an invitation to ask what lives in the mud and to reconnect with the possibilities that this material holds.

The exhibit features a wide range of stories including the Quinault Nation fighting climate change, water protectors resisting fossil fuel development, Duwamish River stewardship, rising seas threatening Pacific Islands and other coastal communities, Native Hawaiians opposing military installations via traditional ceremony, and local community groups fighting disproportionate airplane noise and pollution on Seattle’s Beacon Hill.

Across multiple geographies and a range of aesthetic approaches—from figurative clay sculpture to audio recordings of the swamp—these artists engage mud as a material or subject that shapes personal and collective histories, memory, and imagination. Each artist brings a distinct perspective to the theme, conjuring dynamics embedded in the landscape that include colonial and racialized forms of dispossession, cultural reclamation, narratives of self-actualization, and ecological loss and adaptation.
Mud moves through the exhibition as a metaphor as well as a tangible material. Both water and earth, mud exists in an in-between state. A medium that dissolves binaries, mud invites a blurring of past and present, personal and political, bodies and landscape, feeling and knowing. In various ways, the artworks in Thick as Mud move across these porous boundaries, disrupting linear narratives and dominant hierarchies that shape which places and stories matter.
Across the artworks, mud becomes an agent of time and transformation and a medium of decomposition and creation. As such, Thick as Mud tracks the afterlives of violence against people and the environment while also evoking the potential for regeneration. The exhibition is an invitation to ask what lives in the mud and to reconnect with the possibilities that this material holds.

The exhibit features a wide range of stories including the Quinault Nation fighting climate change, water protectors resisting fossil fuel development, Duwamish River stewardship, rising seas threatening Pacific Islands and other coastal communities, Native Hawaiians opposing military installations via traditional ceremony, and local community groups fighting disproportionate airplane noise and pollution on Seattle’s Beacon Hill.

Across multiple geographies and a range of aesthetic approaches—from figurative clay sculpture to audio recordings of the swamp—these artists engage mud as a material or subject that shapes personal and collective histories, memory, and imagination. Each artist brings a distinct perspective to the theme, conjuring dynamics embedded in the landscape that include colonial and racialized forms of dispossession, cultural reclamation, narratives of self-actualization, and ecological loss and adaptation.
Mud moves through the exhibition as a metaphor as well as a tangible material. Both water and earth, mud exists in an in-between state. A medium that dissolves binaries, mud invites a blurring of past and present, personal and political, bodies and landscape, feeling and knowing. In various ways, the artworks in Thick as Mud move across these porous boundaries, disrupting linear narratives and dominant hierarchies that shape which places and stories matter.
Across the artworks, mud becomes an agent of time and transformation and a medium of decomposition and creation. As such, Thick as Mud tracks the afterlives of violence against people and the environment while also evoking the potential for regeneration. The exhibition is an invitation to ask what lives in the mud and to reconnect with the possibilities that this material holds.

The exhibit features a wide range of stories including the Quinault Nation fighting climate change, water protectors resisting fossil fuel development, Duwamish River stewardship, rising seas threatening Pacific Islands and other coastal communities, Native Hawaiians opposing military installations via traditional ceremony, and local community groups fighting disproportionate airplane noise and pollution on Seattle’s Beacon Hill.

Across multiple geographies and a range of aesthetic approaches—from figurative clay sculpture to audio recordings of the swamp—these artists engage mud as a material or subject that shapes personal and collective histories, memory, and imagination. Each artist brings a distinct perspective to the theme, conjuring dynamics embedded in the landscape that include colonial and racialized forms of dispossession, cultural reclamation, narratives of self-actualization, and ecological loss and adaptation.
Mud moves through the exhibition as a metaphor as well as a tangible material. Both water and earth, mud exists in an in-between state. A medium that dissolves binaries, mud invites a blurring of past and present, personal and political, bodies and landscape, feeling and knowing. In various ways, the artworks in Thick as Mud move across these porous boundaries, disrupting linear narratives and dominant hierarchies that shape which places and stories matter.
Across the artworks, mud becomes an agent of time and transformation and a medium of decomposition and creation. As such, Thick as Mud tracks the afterlives of violence against people and the environment while also evoking the potential for regeneration. The exhibition is an invitation to ask what lives in the mud and to reconnect with the possibilities that this material holds.

The exhibit features a wide range of stories including the Quinault Nation fighting climate change, water protectors resisting fossil fuel development, Duwamish River stewardship, rising seas threatening Pacific Islands and other coastal communities, Native Hawaiians opposing military installations via traditional ceremony, and local community groups fighting disproportionate airplane noise and pollution on Seattle’s Beacon Hill.

Across multiple geographies and a range of aesthetic approaches—from figurative clay sculpture to audio recordings of the swamp—these artists engage mud as a material or subject that shapes personal and collective histories, memory, and imagination. Each artist brings a distinct perspective to the theme, conjuring dynamics embedded in the landscape that include colonial and racialized forms of dispossession, cultural reclamation, narratives of self-actualization, and ecological loss and adaptation.
Mud moves through the exhibition as a metaphor as well as a tangible material. Both water and earth, mud exists in an in-between state. A medium that dissolves binaries, mud invites a blurring of past and present, personal and political, bodies and landscape, feeling and knowing. In various ways, the artworks in Thick as Mud move across these porous boundaries, disrupting linear narratives and dominant hierarchies that shape which places and stories matter.
Across the artworks, mud becomes an agent of time and transformation and a medium of decomposition and creation. As such, Thick as Mud tracks the afterlives of violence against people and the environment while also evoking the potential for regeneration. The exhibition is an invitation to ask what lives in the mud and to reconnect with the possibilities that this material holds.

Across multiple geographies and a range of aesthetic approaches—from figurative clay sculpture to audio recordings of the swamp—these artists engage mud as a material or subject that shapes personal and collective histories, memory, and imagination. Each artist brings a distinct perspective to the theme, conjuring dynamics embedded in the landscape that include colonial and racialized forms of dispossession, cultural reclamation, narratives of self-actualization, and ecological loss and adaptation.
Mud moves through the exhibition as a metaphor as well as a tangible material. Both water and earth, mud exists in an in-between state. A medium that dissolves binaries, mud invites a blurring of past and present, personal and political, bodies and landscape, feeling and knowing. In various ways, the artworks in Thick as Mud move across these porous boundaries, disrupting linear narratives and dominant hierarchies that shape which places and stories matter.
Across the artworks, mud becomes an agent of time and transformation and a medium of decomposition and creation. As such, Thick as Mud tracks the afterlives of violence against people and the environment while also evoking the potential for regeneration. The exhibition is an invitation to ask what lives in the mud and to reconnect with the possibilities that this material holds.

Across multiple geographies and a range of aesthetic approaches—from figurative clay sculpture to audio recordings of the swamp—these artists engage mud as a material or subject that shapes personal and collective histories, memory, and imagination. Each artist brings a distinct perspective to the theme, conjuring dynamics embedded in the landscape that include colonial and racialized forms of dispossession, cultural reclamation, narratives of self-actualization, and ecological loss and adaptation.
Mud moves through the exhibition as a metaphor as well as a tangible material. Both water and earth, mud exists in an in-between state. A medium that dissolves binaries, mud invites a blurring of past and present, personal and political, bodies and landscape, feeling and knowing. In various ways, the artworks in Thick as Mud move across these porous boundaries, disrupting linear narratives and dominant hierarchies that shape which places and stories matter.
Across the artworks, mud becomes an agent of time and transformation and a medium of decomposition and creation. As such, Thick as Mud tracks the afterlives of violence against people and the environment while also evoking the potential for regeneration. The exhibition is an invitation to ask what lives in the mud and to reconnect with the possibilities that this material holds.

Across multiple geographies and a range of aesthetic approaches—from figurative clay sculpture to audio recordings of the swamp—these artists engage mud as a material or subject that shapes personal and collective histories, memory, and imagination. Each artist brings a distinct perspective to the theme, conjuring dynamics embedded in the landscape that include colonial and racialized forms of dispossession, cultural reclamation, narratives of self-actualization, and ecological loss and adaptation.
Mud moves through the exhibition as a metaphor as well as a tangible material. Both water and earth, mud exists in an in-between state. A medium that dissolves binaries, mud invites a blurring of past and present, personal and political, bodies and landscape, feeling and knowing. In various ways, the artworks in Thick as Mud move across these porous boundaries, disrupting linear narratives and dominant hierarchies that shape which places and stories matter.
Across the artworks, mud becomes an agent of time and transformation and a medium of decomposition and creation. As such, Thick as Mud tracks the afterlives of violence against people and the environment while also evoking the potential for regeneration. The exhibition is an invitation to ask what lives in the mud and to reconnect with the possibilities that this material holds.

Across multiple geographies and a range of aesthetic approaches—from figurative clay sculpture to audio recordings of the swamp—these artists engage mud as a material or subject that shapes personal and collective histories, memory, and imagination. Each artist brings a distinct perspective to the theme, conjuring dynamics embedded in the landscape that include colonial and racialized forms of dispossession, cultural reclamation, narratives of self-actualization, and ecological loss and adaptation.
Mud moves through the exhibition as a metaphor as well as a tangible material. Both water and earth, mud exists in an in-between state. A medium that dissolves binaries, mud invites a blurring of past and present, personal and political, bodies and landscape, feeling and knowing. In various ways, the artworks in Thick as Mud move across these porous boundaries, disrupting linear narratives and dominant hierarchies that shape which places and stories matter.
Across the artworks, mud becomes an agent of time and transformation and a medium of decomposition and creation. As such, Thick as Mud tracks the afterlives of violence against people and the environment while also evoking the potential for regeneration. The exhibition is an invitation to ask what lives in the mud and to reconnect with the possibilities that this material holds.

Across multiple geographies and a range of aesthetic approaches—from figurative clay sculpture to audio recordings of the swamp—these artists engage mud as a material or subject that shapes personal and collective histories, memory, and imagination. Each artist brings a distinct perspective to the theme, conjuring dynamics embedded in the landscape that include colonial and racialized forms of dispossession, cultural reclamation, narratives of self-actualization, and ecological loss and adaptation.
Mud moves through the exhibition as a metaphor as well as a tangible material. Both water and earth, mud exists in an in-between state. A medium that dissolves binaries, mud invites a blurring of past and present, personal and political, bodies and landscape, feeling and knowing. In various ways, the artworks in Thick as Mud move across these porous boundaries, disrupting linear narratives and dominant hierarchies that shape which places and stories matter.
Across the artworks, mud becomes an agent of time and transformation and a medium of decomposition and creation. As such, Thick as Mud tracks the afterlives of violence against people and the environment while also evoking the potential for regeneration. The exhibition is an invitation to ask what lives in the mud and to reconnect with the possibilities that this material holds.

Across multiple geographies and a range of aesthetic approaches—from figurative clay sculpture to audio recordings of the swamp—these artists engage mud as a material or subject that shapes personal and collective histories, memory, and imagination. Each artist brings a distinct perspective to the theme, conjuring dynamics embedded in the landscape that include colonial and racialized forms of dispossession, cultural reclamation, narratives of self-actualization, and ecological loss and adaptation.
Mud moves through the exhibition as a metaphor as well as a tangible material. Both water and earth, mud exists in an in-between state. A medium that dissolves binaries, mud invites a blurring of past and present, personal and political, bodies and landscape, feeling and knowing. In various ways, the artworks in Thick as Mud move across these porous boundaries, disrupting linear narratives and dominant hierarchies that shape which places and stories matter.
Across the artworks, mud becomes an agent of time and transformation and a medium of decomposition and creation. As such, Thick as Mud tracks the afterlives of violence against people and the environment while also evoking the potential for regeneration. The exhibition is an invitation to ask what lives in the mud and to reconnect with the possibilities that this material holds.

Across multiple geographies and a range of aesthetic approaches—from figurative clay sculpture to audio recordings of the swamp—these artists engage mud as a material or subject that shapes personal and collective histories, memory, and imagination. Each artist brings a distinct perspective to the theme, conjuring dynamics embedded in the landscape that include colonial and racialized forms of dispossession, cultural reclamation, narratives of self-actualization, and ecological loss and adaptation.
Mud moves through the exhibition as a metaphor as well as a tangible material. Both water and earth, mud exists in an in-between state. A medium that dissolves binaries, mud invites a blurring of past and present, personal and political, bodies and landscape, feeling and knowing. In various ways, the artworks in Thick as Mud move across these porous boundaries, disrupting linear narratives and dominant hierarchies that shape which places and stories matter.
Across the artworks, mud becomes an agent of time and transformation and a medium of decomposition and creation. As such, Thick as Mud tracks the afterlives of violence against people and the environment while also evoking the potential for regeneration. The exhibition is an invitation to ask what lives in the mud and to reconnect with the possibilities that this material holds.

Across multiple geographies and a range of aesthetic approaches—from figurative clay sculpture to audio recordings of the swamp—these artists engage mud as a material or subject that shapes personal and collective histories, memory, and imagination. Each artist brings a distinct perspective to the theme, conjuring dynamics embedded in the landscape that include colonial and racialized forms of dispossession, cultural reclamation, narratives of self-actualization, and ecological loss and adaptation.
Mud moves through the exhibition as a metaphor as well as a tangible material. Both water and earth, mud exists in an in-between state. A medium that dissolves binaries, mud invites a blurring of past and present, personal and political, bodies and landscape, feeling and knowing. In various ways, the artworks in Thick as Mud move across these porous boundaries, disrupting linear narratives and dominant hierarchies that shape which places and stories matter.
Across the artworks, mud becomes an agent of time and transformation and a medium of decomposition and creation. As such, Thick as Mud tracks the afterlives of violence against people and the environment while also evoking the potential for regeneration. The exhibition is an invitation to ask what lives in the mud and to reconnect with the possibilities that this material holds.

Across multiple geographies and a range of aesthetic approaches—from figurative clay sculpture to audio recordings of the swamp—these artists engage mud as a material or subject that shapes personal and collective histories, memory, and imagination. Each artist brings a distinct perspective to the theme, conjuring dynamics embedded in the landscape that include colonial and racialized forms of dispossession, cultural reclamation, narratives of self-actualization, and ecological loss and adaptation.
Mud moves through the exhibition as a metaphor as well as a tangible material. Both water and earth, mud exists in an in-between state. A medium that dissolves binaries, mud invites a blurring of past and present, personal and political, bodies and landscape, feeling and knowing. In various ways, the artworks in Thick as Mud move across these porous boundaries, disrupting linear narratives and dominant hierarchies that shape which places and stories matter.
Across the artworks, mud becomes an agent of time and transformation and a medium of decomposition and creation. As such, Thick as Mud tracks the afterlives of violence against people and the environment while also evoking the potential for regeneration. The exhibition is an invitation to ask what lives in the mud and to reconnect with the possibilities that this material holds.

Across multiple geographies and a range of aesthetic approaches—from figurative clay sculpture to audio recordings of the swamp—these artists engage mud as a material or subject that shapes personal and collective histories, memory, and imagination. Each artist brings a distinct perspective to the theme, conjuring dynamics embedded in the landscape that include colonial and racialized forms of dispossession, cultural reclamation, narratives of self-actualization, and ecological loss and adaptation.
Mud moves through the exhibition as a metaphor as well as a tangible material. Both water and earth, mud exists in an in-between state. A medium that dissolves binaries, mud invites a blurring of past and present, personal and political, bodies and landscape, feeling and knowing. In various ways, the artworks in Thick as Mud move across these porous boundaries, disrupting linear narratives and dominant hierarchies that shape which places and stories matter.
Across the artworks, mud becomes an agent of time and transformation and a medium of decomposition and creation. As such, Thick as Mud tracks the afterlives of violence against people and the environment while also evoking the potential for regeneration. The exhibition is an invitation to ask what lives in the mud and to reconnect with the possibilities that this material holds.

Across multiple geographies and a range of aesthetic approaches—from figurative clay sculpture to audio recordings of the swamp—these artists engage mud as a material or subject that shapes personal and collective histories, memory, and imagination. Each artist brings a distinct perspective to the theme, conjuring dynamics embedded in the landscape that include colonial and racialized forms of dispossession, cultural reclamation, narratives of self-actualization, and ecological loss and adaptation.
Mud moves through the exhibition as a metaphor as well as a tangible material. Both water and earth, mud exists in an in-between state. A medium that dissolves binaries, mud invites a blurring of past and present, personal and political, bodies and landscape, feeling and knowing. In various ways, the artworks in Thick as Mud move across these porous boundaries, disrupting linear narratives and dominant hierarchies that shape which places and stories matter.
Across the artworks, mud becomes an agent of time and transformation and a medium of decomposition and creation. As such, Thick as Mud tracks the afterlives of violence against people and the environment while also evoking the potential for regeneration. The exhibition is an invitation to ask what lives in the mud and to reconnect with the possibilities that this material holds.

Across multiple geographies and a range of aesthetic approaches—from figurative clay sculpture to audio recordings of the swamp—these artists engage mud as a material or subject that shapes personal and collective histories, memory, and imagination. Each artist brings a distinct perspective to the theme, conjuring dynamics embedded in the landscape that include colonial and racialized forms of dispossession, cultural reclamation, narratives of self-actualization, and ecological loss and adaptation.
Mud moves through the exhibition as a metaphor as well as a tangible material. Both water and earth, mud exists in an in-between state. A medium that dissolves binaries, mud invites a blurring of past and present, personal and political, bodies and landscape, feeling and knowing. In various ways, the artworks in Thick as Mud move across these porous boundaries, disrupting linear narratives and dominant hierarchies that shape which places and stories matter.
Across the artworks, mud becomes an agent of time and transformation and a medium of decomposition and creation. As such, Thick as Mud tracks the afterlives of violence against people and the environment while also evoking the potential for regeneration. The exhibition is an invitation to ask what lives in the mud and to reconnect with the possibilities that this material holds.

Across multiple geographies and a range of aesthetic approaches—from figurative clay sculpture to audio recordings of the swamp—these artists engage mud as a material or subject that shapes personal and collective histories, memory, and imagination. Each artist brings a distinct perspective to the theme, conjuring dynamics embedded in the landscape that include colonial and racialized forms of dispossession, cultural reclamation, narratives of self-actualization, and ecological loss and adaptation.
Mud moves through the exhibition as a metaphor as well as a tangible material. Both water and earth, mud exists in an in-between state. A medium that dissolves binaries, mud invites a blurring of past and present, personal and political, bodies and landscape, feeling and knowing. In various ways, the artworks in Thick as Mud move across these porous boundaries, disrupting linear narratives and dominant hierarchies that shape which places and stories matter.
Across the artworks, mud becomes an agent of time and transformation and a medium of decomposition and creation. As such, Thick as Mud tracks the afterlives of violence against people and the environment while also evoking the potential for regeneration. The exhibition is an invitation to ask what lives in the mud and to reconnect with the possibilities that this material holds.

Across multiple geographies and a range of aesthetic approaches—from figurative clay sculpture to audio recordings of the swamp—these artists engage mud as a material or subject that shapes personal and collective histories, memory, and imagination. Each artist brings a distinct perspective to the theme, conjuring dynamics embedded in the landscape that include colonial and racialized forms of dispossession, cultural reclamation, narratives of self-actualization, and ecological loss and adaptation.
Mud moves through the exhibition as a metaphor as well as a tangible material. Both water and earth, mud exists in an in-between state. A medium that dissolves binaries, mud invites a blurring of past and present, personal and political, bodies and landscape, feeling and knowing. In various ways, the artworks in Thick as Mud move across these porous boundaries, disrupting linear narratives and dominant hierarchies that shape which places and stories matter.
Across the artworks, mud becomes an agent of time and transformation and a medium of decomposition and creation. As such, Thick as Mud tracks the afterlives of violence against people and the environment while also evoking the potential for regeneration. The exhibition is an invitation to ask what lives in the mud and to reconnect with the possibilities that this material holds.