Staged alongside the four-day KAIROS Retreat, “K144” considers enclosure & self-exposure in religious dogma.
Kairos is a nationally practiced Catholic retreat that deposits high school seniors deep into the woods for four days of nonstop worship and mysterious transformation.
Participants are asked to live “in God’s time,” relinquishing themselves to the divine timing of all burdens. It is a demand for pure submission and dispossession.
“ K144,” titled as an extension to my own Kairos cycle in 2021 (K143), sits in the ‘After.’
It awaits the hollowness and vague distrust that follow such quick, blinding sprints towards faith.
This exhibit exposes/encloses life-size human figures in multiple mediums, including video installation, sculpture, and photography.
Here, our figures hurdle towards, squirm against, and crawl from their own ‘illumination.’
Lea Casano-Boris
We
—the WoolyWilly, the Weeble Wobble, the toy soldier—
into reflections on value, simplicity, and nostalgia.
In contrast to today's high-tech, fast-paced playthings, these objects don’t demand everything from us;
they leave space for imagination and quiet creativity.
I invite you to reminisce in the gratifying absence of instant gratification,
immersing you in a world where simplicity fosters deeper engagement and play.
Kelsey Champeau
My work is mostly film photography. I have tried to explore an indescribable idea/feeling that has haunted me my whole life and continues everyday: nostalgia.
It’s this kind of funnily nuanced thing, a dream and a nightmare all in one, a presence always looming.
It is a feeling of such overwhelming tenderness and sweetness, but also one of impossibility, yearning, and pain.
It’s this ache or reminder of something you can never fully get back– no matter how much you try to remember or how badly you want to never let go, things are gone.
It is comfort, fragility, inevitability, and hollowness.
Dana Corbo
All painted from real life models,
each painting hovers between
Tiffany Deane is a narrative filmmaker
Tiffany Deane
My body of work considers the slippage between images of celebration and war, and imagination and violence,
Rodrigo GalindoTejeda
as mediated through racialized bodies
material objects.
Repurposing and going beyond the confines of this aesthetic, my work seeks to propose
and contribute to imagining different modes of relation for our joint future.
Noreen Hosny
“In the corner where one fence merged into another, and the sunlight filtering through the leaves made a limitless suffusion over the land,
Azi Jones
the pattern had arranged itself with absolute unawareness. [...] Here where the fences penetrated each other and in silent collaboration produced a corner there were three.
Outside where the roads crossed there were more: thirteen, thirty.”
– In The Castle of My Skin, George Lamming
Land, but specifically parishes Fences, but specifically breezeblocks
Roads, but specifically, backroads
A multimedia body of work that
Isadora Alsadir Knutsen
Paige Morton
My childhood house will be sold in fall 2025, taking with it my container of memories in each room. As I prepare to leave behind the home that shaped me,
I find myself searching for ways to hold onto fragments of familiarity even as life propels me forward. This transition led me to an unexpected source of comfort:
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an hour away from Princeton University in Clinton, NJ, I found Karen’s Dollhouse Shop. It was there that I bought a dollhouse and adorned it with miniatures.
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At the shop, I milled about quietly with my head tilted in concentration as I inspected every small armoire, rocking chair and collection of impossibly tiny books.
I found myself drawn to the details, like the perfectly worn edges of a rug or the tiny brass keyhole on a cabinet that will never truly lock.
Just like constructing a new identity or starting fresh in a new chapter of life, a dollhouse allows you to carefully choose and arrange every detail to reflect who you are or who you want to become.
By leaning into stillness and intentional composition, this film mirrors the act of assembling a miniature world: a quiet, tender way of making sense of loss and the urge to preserve what is inevitably slipping away.
Schuyler Saint-Phard
Disrupting Binaries is an exhibition of recent works by Schuyler Saint-Phard ‘25, an architecture major and visual arts minor.
Through her sculptures and drawings, Schuyler unpacks what it means to be biracial.
Growing up feeling “too Black for the white kids” yet “too white for the Black kids,”
The white paint and the brown wood of the sculptures represent the seemingly impossible attempt to draw that line. she has existed in a gap between her two identities.
Corey is interested in simple forms,
Corey Segal
what is held in the space between things
how edgelessness and holes create insularity and openness
how a collection of objects, or its parts,
give meaning
Marie Sirenko
My parents moved from Ukraine to America in 1992 with a 2-year-old son. They intended to go back after my dad got his graduate degree, but with the political and economic instability that came with the collapse of the Soviet Union,
their family and friends advised them to stay in America. My grandparents took turns coming over to help raise my brother and eventually immigrated as well. Many stories surrounding immigration focus on the idea
of having to leave the old country in exchange for a better life. They often focus on the transition from the old country to the new. In Over the same old ground, I wanted to focus on my parents’ movement across America after immigration.
Because for a long time, life was much, much harder for them than it had been in Ukraine. It took almost a decade, multiple cross-country moves, and many sacrifices until they felt stable enough to have two more kids,
my second brother and I. It wasn’t until then that they decided they wouldn’t move back. Even while they enjoy their life in America now, they still reflect on their times in Ukraine as some of the best of their life, despite its challenges.
Taking road trips across many of the same places my parents had driven through and painting family photographs from those years has helped me better understand my parents and what they experienced.
It has also made me reflect on just how different my experience in America has been, as an American-born, native English speaker with a life built upon the sacrifices my family had already made.
Kate Stewart
The Memorabilia short film and exhibition explores science fiction and its relationship to political protest and art
by examining what society chooses to preserve, discard, or reimagine.
The project interrogates shifting boundaries of value—societal, emotional, and material.
Rooted in speculative aesthetics, Memorabilia blurs the line between artifact and imagination, raising urgent questions about
memory, resistance, and the future we construct through the objects we choose to keep.
Lily Turri
Lily is an architecture major who gravitates towards photography as a way of wondering about and wandering about the world.
She is often drawn to
To her, these can be
the most interesting.
Currently, she wonders
what will become of the mall.
Magnus von Ziegesar
The works on paper were made by using Elmer’s glue as a resist: first I made drawings in colored pencil, then I applied the glue, then I flipped the paper over and did another layer of glue on the back,
I added soft pastel coloring, then I flipped the paper back to its front and applied a gloss medium, which made the paper translucent everywhere except where glue had been applied.
Other works consist of a string of hot glue (mixed with acrylic paint) and squares of plexiglass. I took a square of plexi (which I had previously cut and painted), squirted as much hot glue as could fit on it, and mixed paint into this hot glue.
I did this process on another plexi square. With these two pools of colored hot glue, I waited long enough so that when I put the pools together,
they would cool and solidify right as I pulled them apart, capturing the “pull.” I repeated this many times, and glued these “pulled sandwiches” together into long strands.
The metal works were bent by hand and then twisted into the wall (or themselves).
They are not held together through welds, but rather through friction and their own tension.
The Millstone River is a 38.7 mile long tributary of the Raritan River.
Jasper Waldman
In March 2024, it flooded the Griggstown Causeway while I was on a bike ride, forcing me to turn around.
I had never encountered a flood before. I returned over the next days, weeks, and months,
exploring the topology, atmosphere, and cyclicality of the watershed,
from flood, to drought, to freeze, to flood once more.
Caroline Weaver
Weaver explores the digital aesthetics of dress-up, nostalgic media, and horror’s fixation on the female body.
Drawing from her childhood obsessions
with horror films and dress-up video games,
she uses the visual language of child’s craft to analyze the tension between self-stylization
and external gaze, considering how femininity is performed and constantly scrutinized.
Audrey Zhang
I create at the intersection of art and technology to envision interstellar futures and illuminate the charms of mundane life.
My art encourages viewers to look again—to question their notions of reality, the limits of human endeavor, and the tomorrow to which our decisions contribute.
With paintings, sculptures, and sitespecific installations, I explore cyberpunk worlds, the artistic process, and communicating more efficiently and effectively through art.
I seek to create artwork that reaches viewers directly and viscerally, striving to resonate with the primal instincts to search for order, beauty, and possibility.
My projects are characterized by labor and detail: each piece encapsulates and immortalizes the energy and life force I have devoted to art.
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May my art speak for me
and continue to generate discussion among others wlong after I am gone.
vis faculty: Colleen Asper, Zimra Beiner, Tina Campt, Laura Coombs, Amaryllis Flowers, Martha Friedman, Christopher Harris, Daniel Heyman, Deana Lawson, Pam Lins, Troy Michie, Moon Molson, Medhin Paolos, Nicolás Pereda, Bent-Jorgen Perlmutt, David Reinfurt, Joe Scanlan, Laurel Schwulst, Tim Szetela, James Welling, Jeff Whetstone, Amy Yao
vis staff: Ash Albeser, Joseph Arnold, Evan Broennimann, Marjorie Carhart, Ben Denzer, Lauren Fedorchak, Peter Kazantsev, Benjamin Kraemer, Orlando Murgado, Brandon Ndife, Alexis Ortiz, Kristy Seymour, Michelle Zatta
lewis center for the A rts
administration: Dan Benevento, Dawn M. Capizzi, Judith Hamera, Crystal Henderson-Napoli, Mary K. O'Connor, Cathy Sterner, Kim Wassall, Marion Friedman Young
E xternal A ffairs: Angel Gardner
communications: Zohar Lavi-Hasson, Tracy Patterson, Steve Runk, Jonathan Sweeney, Jaclyn Sweet, Shuquin Windbush
tehnical services: Asante Livingstone, Rick Pilaro, Steven Rife, Nicolas Sharpe
No part of this publication may be reproduced or transmitted in any form or by any means without prior permission in writing from the artist
