by ELISABETH WORKMAN
On relics of the relationship between humans and the sea: speculative wonders and memory amidst waves, sand, wind, bronze, and concrete
You walk into the room as if into the sentence:
“Both water and sand were the color of steel overlaid with the sheen of silver, so that it was hard to say where water ended and land began,”1 writes Rachel Carson in the beginning of Under the Sea-Wind, the book Alexa Horochowski’s show at Dreamsong is named after.
And it is from this meeting-and-merging threshold potency that Alexa’s works emerge.
