The solo exhibit in partnership with Arte Mexicano en Indiana features a collection of watercolor and gouache portraits as an invitation to be collectively vulnerable, to create and archive that speaks of intimacy and eroticism.

The exhibit highlights several extinct or threatened species in Posey County. The pre-human ecosystem in our area was abundantly populated and in natural balance. After man settled along the Wabash and elsewhere, this utopian equilibrium eroded to the point of dystopia. The world now faces environmental, social and economic catastrophe, while our perverted material culture still spreads an unrealistic ethos of fossil fuel powered unlimited growth, fast fashion, junk food and surveillance capitalism.

Hocking spent three weeks in Indianapolis gathering materials from the site, documenting, researching, and creating his installation. He hauled over 100 massive hunks of burned Styrofoam, multiple plastic blobs melted by fires, fragmented fast food signage, nifty anthropomorphic food-character murals, and dozens of other artifacts. He brought this all to Tube Factory. And he worked onsite while living in Big Car’s neighboring artist residency home. The resulting installation uses the main gallery as a kind of ceremonial site — the burned Styrofoam mountain could be a dystopian temple or future glacier.

In his first solo exhibit, Davis creates a room-shaking, fifteen-minute surround sound piece that traces the tragic and deadly ironies, lies, and realities comprising the Vietnam War. This, staged among ephemera and original illustrations by Chicago-based visual artist Keith Couture, are laid bare for us to sit with and listen through in hopes that we may gain a clearer understanding of the relationship between capitalism and the endless conflicts that occur for or against its profits.