Kin/Kindred from the collection of Van Every/Smith Galleries at Davidson College

Kin/Kindred, 2020

Mixed media

50 x 19.5 x 29 in (127.0 x 49.53 x 73.66 cm)

Attribution: Gift of the Artist

Inv: 2025.17.1

Location: Collection Storage Hanging Storage

Full media: Saw dust, wood glue, fencing, foam, quartz crystal, epoxy clay, alcohol ink, acrylic paint, found items including: concrete block, coquina shells, naturally shed pig hairs, deer skull, alligator garfish scales, old nails from flipped houses, human hair, coral, shells, barnacles, rocks, sand, tarantula

Kin/Kindred was exhibited at South Arts as Cornejo was the 2022 Tennessee Fellow and Southern Prize Finalist. In exhibition’s digital publication, the artist states:
"This sculpture uses hairs along the spine and old nails around the front to keep the viewer at a distance so it can be observed, but on the sculpture’s terms. It seemingly exists in a far enough away future that it's been left alone with crystal slowly forming around it, like the great caves such as Lechuguilla, which are altered realms out of our human-made environment. They have been allowed to build up silently, creating phenomenal spaces outside of human touch. Humans can’t go in them without compromising the space, so we have to contend with the fact that their existence is directly tied to our lack of interaction with them. The inability to have or do something exceedingly frustrates humans. In the end, the sculpture symbolizes a slow coming together of believed detritus to make a being that’s made up of mostly dead material that exists as a relic, a possibility, or a warning."

From Van Every/Smith Galleries at Davidson College

Stan Douglas

Panoptican, Isla de Pinos / Isla de la Juventud, 2005

C-Print mounted on 1/4 inch honeycomb aluminum

49.25 x 79.25 x 2.25 in (125.1 x 201.3 x 5.72 cm)
Adrian Van Suchtelen

P.O.W., 1982

Etching on paper

12.625 x 12.75 in (32.07 x 32.39 cm)
Stanley William Hayter

Fall of Troy, 1979

Engraving on paper

15.75 x 11.5 in (40.01 x 29.21 cm)
Richard Black

Aquacade, 1975

Lithograph on paper

24 x 18 x 1.5 in (60.96 x 45.72 x 3.81 cm)
Nicholas Monro

Hedges, 1970

Screenprint on paper

27.5 x 40.125 in (69.85 x 101.92 cm)
Gordon House

Quartered Arc, 1970

Etching on paper

23 x 15.875 in (58.42 x 40.32 cm)
Tobias Schneebaum

Native Woman, c. 1965

Lithograph on paper

12.625 x 9.875 in (32.07 x 25.08 cm)
Gene Merritt

Rockie Greseno

Ink on paper

11 x 8.5 in (27.94 x 21.59 cm)

View All Artworks

About the artist

Sarah Elizabeth Cornejo

American

b. 1993

Sarah Elizabeth Cornejo is a Peruvian-American interdisciplinary artist based in Memphis, TN. Her work has been shown at The Mint Museum (NC), Duke University (NC), Crosstown Arts (TN), Field Projects (NY), and Antenna (LA), among others, and was most recently included in the statewide Tennessee Triennial. She has been awarded residencies at Crosstown Arts and the McColl Center, and received the Current Art Fund Grant (2021), New Public Sculptors Fellowship (2021), Tennessee State Fellowship (2022), and was the finalist for the 2022 Southern Prize. She received her MFA in interdisciplinary studio from The University of North Carolina at Chapel Hill and her BA in Studio Art and English Literature from Davidson College Class of 2016.

Additional Details

Additional Artworks

Panoptican, Isla de Pinos / Isla de la Juventud, 2005

P.O.W., 1982

Fall of Troy, 1979

Aquacade, 1975

Hedges, 1970

Quartered Arc, 1970

Native Woman, c. 1965

Rockie Greseno

About the artist

Sarah Elizabeth Cornejo