P·P·O·W is happy to current Life Appears Like a Home For a Few Hours, Erin M. Riley’s third solo exhibition with the gallery. In a brand new physique of meticulously crafted and powerfully weak large-scale weavings, home scenes congeal and dissolve amidst household pictures, automobile crashes, iPhone selfies, and newspaper clippings. Collaging moments from her previous and current, Riley intersperses pictures of herself with recollections of her childhood residence earlier than it was misplaced in a storm of separation, alleged affairs, and foreclosures. All through these works, Riley investigates the forces that formed her life and the splintering of non-public id, dissecting every layer to disclose the secrets and techniques inside.
Riley’s progressive strategy to fiber obscures the binary opposition between fantastic artwork and craft, shifting the discourse across the medium by merging complicated, usually delicate, subject material from the digital and bodily realms. Utilizing hand-dyed wool and cotton yarns sourced from shuttered textile mills, Riley executes her hand-woven tapestries utilizing a completely nuanced and customized colour palette. With this system, the Brooklyn-based weaver fastidiously renders the pixelated impact of screenshots and Picture Sales space selfies interlaced with moments extracted from outdated household pictures or culled from reminiscence.
In Someone Cares, 2025, the artist’s lingerie-clad physique reclines throughout an asphalt freeway whereas a totaled automobile, discarded beer bottle, and illuminated window emblazoned with the letters “S.O.S.” recommend previous, or impending, catastrophe. One other work, You Broke, 2025, integrates a textual content overlay from a scene in Intercourse and the Metropolis, wherein Carrie’s boyfriend, Aidan, exclaims “you broke my coronary heart!” referring to an affair that leads her again to an outdated relationship. By means of these montaged environments, Riley examines the parallels between her childhood and the illicit relationships she developed in maturity, writing, “As a child who was handed forwards and backwards amidst little one help battles, it at all times felt like I used to be torn between alliances, very similar to the sensation of following the guts in issues which have moral gray areas.” Studying to fragment herself when shifting via areas in order to not reveal an excessive amount of, Riley’s works reveal the turmoil that ensues when allegiances are divided.
Forest, 2025, the biggest work within the exhibition, options the artist’s physique digitally repeated, sequenced, after which hand-woven at a monumental scale. A picture of the desolate forest behind Riley’s mother and father’ home hovers within the composition as a reminder of her origins, whereas a size of birthday streamers winds throughout a banister within the foreground. Created because the artist approaches her fortieth birthday, the works encapsulate a retrospective view of her life to date. A whole bunch of ft of hand-woven birthday streamers type a throughline for your complete exhibition, extending her tapestries into the three-dimensional area of the gallery whereas paying homage to the trials she has overcome and her survival.
Together with the exhibition, Riley will likely be joined in dialog by Alina Perez on Saturday, October 4 at 4pm. The artists will talk about the subject material explored in Riley’s exhibition and the broader themes shared throughout each of their practices. Extra details about this occasion is forthcoming.
![Colin Hay Discusses Males at Work, His Solo Profession, and the Music Biz [Part Two]](https://intotunes.com/wp-content/uploads/2025/09/ColinHayInterview-120x86.jpg)
