Images rarely stay still. They travel—across time, across material, across hands—carrying fragments with them, shedding others, returning altered. Vestige brings together Abbey Muza, Jennifer Carvalho, Ben Cowan, and Fabiola Jean-Louis around this sense of the image as something in motion: not fixed in the past, but continuously re-formed in the present.

​

At its center, a new body of work by Abbey Muza unfolds as a kind of woven language. Drawing from medieval Apocalypse tapestries and the symbolic systems of midcentury artist Jean Lurçat—alongside contemporary strategies of encoding and signaling—their dye-printed textiles hold images as they pass between clarity and abstraction. Ferns, fire, water, stars: forms that have carried meaning across centuries reappear here as signals—of renewal, warning, environmental precarity—while also remaining open, unstable, and in flux.

​

Muza’s process is both deliberate and responsive. Imagery is painted onto silk threads before weaving, so that as the cloth is formed, the image shifts—softening, misaligning, or dissolving into structure. Woven in doublecloth, each textile holds two layers at once, binding surface and ground together. The works are divided into quiet, stacked frames that isolate and re-sequence fragments, as if time itself were being edited into parts. Alongside them, a series of drawings returns to these forms—reframing, tracing, or clarifying what the woven image leaves unresolved. Meaning moves between them, never fully settling.

​

-excerpt from exhibition text by Ingrid Lundgren, curator