Similarly, in her mixed media mobile Mothership, Schatz recreates twentieth-century aesthetics in terms designed to show up its distance from the present. Concentric rings of cardboard, painted in dazzling hues and inlaid with text and photographic clippings from newspapers, hang from the ceiling, like a modernist chandelier, revealing and concealing their interiors as they turn. Like the memory of an object once seen and held in the mind, Schatz’s work is a wilfully quixotic object, the lightness and frailty of its construction part of its examination of memory’s failures.

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