Offering in lieu of an expository statement a meandering anecdote about one Mr. Morimotoan elderly Japanese painter who purportedly graced a 2015 exhibition of hers at intervals “based on a timetable according to a graph depicting a fictional mountain”Haris Epaminonda prefers to present viewers with the kind of narrative that, like Morimoto’s, “continues in the margins.” Using pedestals, tables, architectural modifications, and other devices to frame her works’ components, Epaminonda engineers displays with an almost pathologically neat-and-tidy look, rescuing them from airlessness by playing games of hide-and-seek, wrapping artifacts and ideas around one another and the gallery space.
A description of Untitled #1 a/v, 2016, the first installation in Epaminonda’s exhibition “VOL. XVII,” ought to give some idea of its maker’s approach. A cream-colored Chinese porcelain
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