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<channel>
	<title>erin m. cross</title>
	<link>https://erinmcross.art</link>
	<description>erin m. cross</description>
	<pubDate>Sun, 18 Dec 2022 15:26:18 +0000</pubDate>
	<generator>https://erinmcross.art</generator>
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	<item>
		<title>erin m cross</title>
				
		<link>https://erinmcross.art/erin-m-cross</link>

		<pubDate>Tue, 25 Jan 2022 22:40:02 +0000</pubDate>

		<dc:creator>erin m. cross</dc:creator>

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		<description>
ERIN M. CROSS ︎
transdisciplinary artist



&#38;nbsp;&#38;nbsp;︎ work&#38;nbsp;


&#38;nbsp;︎ about
&#38;nbsp;︎ links&#38;nbsp;︎ cv

&#38;nbsp;︎ contact


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	<item>
		<title>work</title>
				
		<link>https://erinmcross.art/work-1</link>

		<pubDate>Sun, 20 Nov 2022 15:02:00 +0000</pubDate>

		<dc:creator>erin m. cross</dc:creator>

		<guid isPermaLink="true">https://erinmcross.art/work-1</guid>

		<description>
	
︎ERIN M. CROSS


︎WORK
	


	
	
	
	



	︎viscera
︎for your consumption (shitshitshit)

	︎obsolescene
︎entities


	︎styrocumulus ︎septicity


	 ︎cloudwatching︎obsolescene: a written thesis



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	<item>
		<title>VISCERA</title>
				
		<link>https://erinmcross.art/VISCERA</link>

		<pubDate>Fri, 13 May 2022 22:16:48 +0000</pubDate>

		<dc:creator>erin m. cross</dc:creator>

		<guid isPermaLink="true">https://erinmcross.art/VISCERA</guid>

		<description> VISCERA// Digital Hell Studio
Richmond, VA
May-August 2022An installation consisting of four rooms; the Grow Room containing plastic totes, BPA spinach and lettuce containers, and soil disturbed by local construction. A quilt made of grocery bags fills another room like a sky. Mirrored puddles and bubble wrap clouds imitate a post-storm view.
GROW ROOM
Plastic totes, BPA spinach and lettuce containers, soil disturbed by local construction.

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BLUE SKY SIMULATION ROOM
Plastic grocery bags from Food Lion, mint flavored chewing gum, oscillating fan.WALKTHROUGH VIDEO

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 RAIN SIMULATION ROOM
Bubblewrap, Poly twine, Mirror.&#60;img width="4928" height="3264" width_o="4928" height_o="3264" data-src="https://freight.cargo.site/t/original/i/68cc8441bc2c198ca1d0201e82af108e440893928c15c10e55299ff517d8149a/DSC_0143.JPG" data-mid="142544070" border="0"  src="https://freight.cargo.site/w/1000/i/68cc8441bc2c198ca1d0201e82af108e440893928c15c10e55299ff517d8149a/DSC_0143.JPG" /&#62;&#60;img width="4928" height="3264" width_o="4928" height_o="3264" data-src="https://freight.cargo.site/t/original/i/5bacc0cd4c5df9dab6252a3a3233988edc5d19c90fe74540d9c44430ca62cb08/DSC_0104.JPG" data-mid="142544427" border="0"  src="https://freight.cargo.site/w/1000/i/5bacc0cd4c5df9dab6252a3a3233988edc5d19c90fe74540d9c44430ca62cb08/DSC_0104.JPG" /&#62;
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CLOUDWATCHING 

Plexiglass, dry erase marker, 3:44 video, plastic box, styrofoam, brass hardware. 
Public engagement piece in which participants traced the clouds visible from the Food Lion parking lot at 1228 Concord Ave, Richmond, VA 23227.Each person traced the outlines in a different color while engaging in coversation with the artist. The plexiglass was then attatched to the wall, including the tracings from the parking lot, and projected onto. The video projection superimposes other cloudscapes onto these outlines.Video sites include non-descript but open locations such as parking lots and highways, where moments of awe occur in the supermodern non-place. (see thesis)


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		<title>Obsolescene @ the Anderson</title>
				
		<link>https://erinmcross.art/Obsolescene-the-Anderson</link>

		<pubDate>Tue, 25 Jan 2022 22:40:03 +0000</pubDate>

		<dc:creator>erin m. cross</dc:creator>

		<guid isPermaLink="true">https://erinmcross.art/Obsolescene-the-Anderson</guid>

		<description>OBSOLESCENE // The Anderson Gallery
Richmond, VA
January-Feburary 2022
press release



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“And of course she had studied the civilization that had immediately preceded her own — the civilization that had mistaken the functions of the system, and had used it for bringing people to things, instead of for bringing things to people… She shrank back into the room, and the wall closed up again.”

E.M. Forster, The Machine Stops, November 1909

What does it mean to plan your own obsolescence?

OBSOLESCENE refers to the planned obsolescence of technology, including plastics, and the obsolescence humans will soon face as a result of that same technology. Obsolescence:the process of becoming obsolete or outdated and no longer used. The suffix “-cene” refers to geologic time,&#38;nbsp; a combining form meaning “new,” “recent,” used as the final element of a compound word, as in, Pleistocene. I see synthetic material as a portrait of our severance from nature. Humans have become an invasive species, bringing with us “disposable” never-decomposing materials we refuse to halt making in the name of comfort and convenience. I implicate myself as a part of this in using only waste generated by my own life and lifestyle. 

As antitheses of organic matter, the materials I use can only exist because humans engineered them. Will we create simulations of the natural experiences of days past, using artificial means? 

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		<title>STYROCUMULUS</title>
				
		<link>https://erinmcross.art/STYROCUMULUS</link>

		<pubDate>Tue, 25 Jan 2022 22:40:04 +0000</pubDate>

		<dc:creator>erin m. cross</dc:creator>

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STYROCUMULUS // Collegiate School
November 2021-February 2022




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	Utilizing post-consumer synthetic waste as material, Styrocumulus is a space to envision possible experiences of the future, to have conversations, and to collectively imagine new answers. The materials used in this installation are byproducts of my career teaching and working with glass as an art form. I see synthetic material is a portrait of our severance from nature. We have become an invasive species, bringing with us “disposable,” never-decomposing materials we refuse to halt making in the name of comfort and convenience. I implicate myself as a part of this in using only waste generated by my own life and lifestyle. 
	As a non-material, a non-thing, a thing that can only be told what to be; plastics and styrofoam can only exist because we made it. I imagine things that will exist after humans- if we are slowly becoming made of plastic, what will the hybrid plastic organisms of the future be? Will we create simulations of the natural experiences of days past, using artificial means? I encourage the viewer to spend some time “cloudwatching” in this space, spending time with these ideas. 
    
    </description>
		
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	<item>
		<title>CLOUDWATCHING</title>
				
		<link>https://erinmcross.art/CLOUDWATCHING</link>

		<pubDate>Wed, 26 Jan 2022 02:06:31 +0000</pubDate>

		<dc:creator>erin m. cross</dc:creator>

		<guid isPermaLink="true">https://erinmcross.art/CLOUDWATCHING</guid>

		<description>CLOUDWATCHING:
 A Space for Radical Reimagining 
// Sierra Nevada University

August 2021



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&#60;img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/f05db8646eb5e47288969972e36aff4c3c723b9a536db6fcccbaaf115cda81f6/IMG_0908-2.jpeg" data-mid="131447302" border="0"  src="https://freight.cargo.site/w/1000/i/f05db8646eb5e47288969972e36aff4c3c723b9a536db6fcccbaaf115cda81f6/IMG_0908-2.jpeg" /&#62;
&#60;img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/fe8e9bd08511f46e78d0b1b0aa0f2bdbdaff2bbb3223b0730e8998e9787a1d50/IMG_0905-2.jpeg" data-mid="131447297" border="0"  src="https://freight.cargo.site/w/1000/i/fe8e9bd08511f46e78d0b1b0aa0f2bdbdaff2bbb3223b0730e8998e9787a1d50/IMG_0905-2.jpeg" /&#62;
&#60;img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/372f67d4116168834940e3c48b0b64125cef615f58c4d836240f510a3d390cf6/IMG_0888-2.jpeg" data-mid="131447276" border="0"  src="https://freight.cargo.site/w/1000/i/372f67d4116168834940e3c48b0b64125cef615f58c4d836240f510a3d390cf6/IMG_0888-2.jpeg" /&#62;
&#60;img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/c00ad0714528c32e8013bc4f579181c722929eecad845be5aca9c02db63b54d2/IMG_0894-2.jpeg" data-mid="131447280" border="0"  src="https://freight.cargo.site/w/1000/i/c00ad0714528c32e8013bc4f579181c722929eecad845be5aca9c02db63b54d2/IMG_0894-2.jpeg" /&#62;

I am able to exist because of synthetic barriers. My experience is one in which plastic/oil based synthetics are integral; from birth they have sustained my existence. As a person with allergies to all natural fibers and proteins- trees, grasses, flowers, animals cause a reaction, often severe, in my skin and lungs. Without medications, which come in the form of plastic inhalers, plastic pill bottles, and metal and plastic sheets, I am not able to fight these reactions myself.  All of the installation’s imitations of nature are “safe” for me- the opposite for the long-term sustainability of the things they mimic. My work investigates this imbalance necessary to my survival.


        	 I
 understand my positioning as someone who simultaneously benefits from the existence of plastic, and someone who wishes it never was invented. It is inherent to my existence, and I to its. I find these concepts around plastic applicable to “hopeful nihilist” views of the future; combatting the knot of problems we are left to deal with as a result of the short-sightedness of white colonialist capitalism.
I use a technique of melt-“quilting” technique to create large scale plastic “quilts” out of HDPE grocery bags; a reference to feedsack quilting, and the notion of quilts as building blocks of Americana. I am specifically queering the gendered (and not provable) tale of the log cabin quilt, wherein male family members build the log cabin, while female members make a log cabin quilt. This story participates in the sensationalized myth of toxic American manifest destiny.

Plastic being the great metaphor for capitalism, its lightweightness, cheapness, “durability,” hydrophobia and malleability outweighing the obvious needs of our planet; biodegradability, sustainability. Chemical additives are applied in the making of HDPE “to improve resistance to degradation by ozone, temperature, light, bacteria, humidity.” In making indestructible materials common, we have created a landfillocene.
My use of disposable grocery bags highlights American waste addiction as another block in our foundation. Growing food, and food to feed animals we eat, accounts for 24% of global carbon emissions. I create the plastic sculptures quickly and without structured parts or plans, mimicking the systems which have allowed this material has come to be ubiquitous. The material is valuable to me for the same reasons it is valuable to capitalism- light, shippable, shrinkable. Commandable. 
 
This piece engages electricity (another 25% of our carbon emissions) to play sound in the space. As the viewer moves through the space, the sound of their interaction with the plastics completes a soundscape. This sound consists of recordings of styrofoam and other synthetic materials and a wave noise machine. It is an imagining of a post-human future in which only the most adapted animals survive- bugs and birds that have absorbed our waste and microwaste, and “adapted” to a hotter Earth.
This installation is inspired by the format of a child’s early landscape drawing: a sun in the top corner, a blue sky, clouds, and flowers. I also teach art at various retirement homes, where a similar style of illustration occurs later in life, too. I find our cartesian impulse towards understanding and experiencing nature is reflected in this phenomenon of simplifying landscape.&#60;img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/ffc041609a4d15cbe86c9cf8cf9bd3ebe7a6efd4549c2dc3431e686988468fc0/IMG_0900-2.jpeg" data-mid="131447288" border="0"  src="https://freight.cargo.site/w/1000/i/ffc041609a4d15cbe86c9cf8cf9bd3ebe7a6efd4549c2dc3431e686988468fc0/IMG_0900-2.jpeg" /&#62;

&#60;img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/16a427f32517f9b87a186bd37810981426d7ed7c88683ca76091cce06fcfefa8/IMG_0904-2.jpeg" data-mid="131447295" border="0"  src="https://freight.cargo.site/w/1000/i/16a427f32517f9b87a186bd37810981426d7ed7c88683ca76091cce06fcfefa8/IMG_0904-2.jpeg" /&#62;</description>
		
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	<item>
		<title>for your consumption (Shitshitshit)</title>
				
		<link>https://erinmcross.art/for-your-consumption-Shitshitshit</link>

		<pubDate>Sun, 18 Dec 2022 15:26:18 +0000</pubDate>

		<dc:creator>erin m. cross</dc:creator>

		<guid isPermaLink="true">https://erinmcross.art/for-your-consumption-Shitshitshit</guid>

		<description>For Your Patronage (Shitshitshit)// 2021
Post-consumer plastic waste, nylon.

&#60;img width="1089" height="721" width_o="1089" height_o="721" data-src="https://freight.cargo.site/t/original/i/b9db9ff98ebd88f5d4209581977fc299936e8f0dc93603c29dc7229b9f5054e0/CrossShitshitshit1.jpg" data-mid="162246593" border="0"  src="https://freight.cargo.site/w/1000/i/b9db9ff98ebd88f5d4209581977fc299936e8f0dc93603c29dc7229b9f5054e0/CrossShitshitshit1.jpg" /&#62;

The viewer encounters a plastic mass, mostly white and clear, with bursts of blue, red, and a yellow smiley face. Some elements are more recognizable than others-barcodes, american flags, grocery bags, bubble wrap. Upon further investigation one may realize it is interwoven, with a transparent nylon fishing line warp.A nearby iphone tries to read the barcodes on an app, glitching and struggling to read them.
</description>
		
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	<item>
		<title>ENTITIES</title>
				
		<link>https://erinmcross.art/ENTITIES</link>

		<pubDate>Sun, 18 Dec 2022 15:26:06 +0000</pubDate>

		<dc:creator>erin m. cross</dc:creator>

		<guid isPermaLink="true">https://erinmcross.art/ENTITIES</guid>

		<description>entities,&#38;nbsp;2020//Boise, Idaho
System 96 studio glass, consumer glass shards found in the Sawtooth Mountain Wilderness
&#60;img width="1080" height="720" width_o="1080" height_o="720" data-src="https://freight.cargo.site/t/original/i/298864bb53ce4d04f24db96adb05dd7194fa92dfb7e996b4bb243e0ed7113ad3/CrossEntities1.jpg" data-mid="162247477" border="0"  src="https://freight.cargo.site/w/1000/i/298864bb53ce4d04f24db96adb05dd7194fa92dfb7e996b4bb243e0ed7113ad3/CrossEntities1.jpg" /&#62;&#60;img width="1080" height="720" width_o="1080" height_o="720" data-src="https://freight.cargo.site/t/original/i/07044bce6a7f6e51870c81e58dfbb98fa3f4b42ec4c3e670f786c5f0a4fb5e49/CROSS_ERIN_20.jpg" data-mid="162247543" border="0"  src="https://freight.cargo.site/w/1000/i/07044bce6a7f6e51870c81e58dfbb98fa3f4b42ec4c3e670f786c5f0a4fb5e49/CROSS_ERIN_20.jpg" /&#62;&#60;img width="1080" height="720" width_o="1080" height_o="720" data-src="https://freight.cargo.site/t/original/i/f98a0850daa0a60dcd3beb2c5d0e9160d7c717033d783cfc4db9ce9e6c114875/CROSS_ERIN_15.jpg" data-mid="162247542" border="0"  src="https://freight.cargo.site/w/1000/i/f98a0850daa0a60dcd3beb2c5d0e9160d7c717033d783cfc4db9ce9e6c114875/CROSS_ERIN_15.jpg" /&#62;&#60;img width="1080" height="720" width_o="1080" height_o="720" data-src="https://freight.cargo.site/t/original/i/f9d1e464eeb075111a70b4483005114c5c1ffabaac2aad9d6cf18cbab95b12ef/CrossEntities2.jpg" data-mid="162247478" border="0"  src="https://freight.cargo.site/w/1000/i/f9d1e464eeb075111a70b4483005114c5c1ffabaac2aad9d6cf18cbab95b12ef/CrossEntities2.jpg" /&#62;
A series of glass blown spheres whose color comes from post-consumer glass found in national forests. The bottles are not compatible with blown glass, creating cracks which slowly spread over time. These works threaten to break at any moment, an obvious parallel to our impact on our own environment.

</description>
		
	</item>
		
		
	<item>
		<title>SEPTICITY</title>
				
		<link>https://erinmcross.art/SEPTICITY</link>

		<pubDate>Thu, 03 Feb 2022 14:56:10 +0000</pubDate>

		<dc:creator>erin m. cross</dc:creator>

		<guid isPermaLink="true">https://erinmcross.art/SEPTICITY</guid>

		<description>&#38;nbsp;SEPTICITY
// Virginia Commonwealth University
April 2018



12 iPhones and their feedback, Polypropelyne bags, styrofoam, invasive ivy, single channel video, PET-filtered light, garbage found in alleyways of Richmond, Virginia, instagram profile&#38;nbsp;Collaborative Installation with Maya Giacobbe
Septicity leverages found plastic to present both digital images through mobile device screens, and light and imagery filtered through and within the material. The screen and the plastic create an amalgam of the natural and the made world, and with viewer cooperation, the viewer’s mobile device uses social media to further access the work (@septicity) as they move through the dim space, filtered by brown kroger plastic bags. &#38;nbsp; All material must be used and found outside of proper recycling systems. Glass is found on hiking trails, plastic floating through alleyways. What is it to remove the plastic incorporated in this work from the recycling process?


&#60;img width="2612" height="4012" width_o="2612" height_o="4012" data-src="https://freight.cargo.site/t/original/i/f986b49d64fc24cf1181539ce2cc8fbadcf247c979a3f7eaf698ff632cb69962/DSC_0624.JPG" data-mid="132363998" border="0"  src="https://freight.cargo.site/w/1000/i/f986b49d64fc24cf1181539ce2cc8fbadcf247c979a3f7eaf698ff632cb69962/DSC_0624.JPG" /&#62;
&#60;img width="4928" height="3264" width_o="4928" height_o="3264" data-src="https://freight.cargo.site/t/original/i/3e69da56457fe43fa5926506a0c05fca1fa863a9877a9676c70f69941a3da926/DSC_0705.JPG" data-mid="132364021" border="0"  src="https://freight.cargo.site/w/1000/i/3e69da56457fe43fa5926506a0c05fca1fa863a9877a9676c70f69941a3da926/DSC_0705.JPG" /&#62;&#60;img width="4634" height="3264" width_o="4634" height_o="3264" data-src="https://freight.cargo.site/t/original/i/b83f65ee24f833e07758212b0962dd2185055d10c121777752d5ba5bc4c24f25/DSC_0686.JPG" data-mid="132364004" border="0"  src="https://freight.cargo.site/w/1000/i/b83f65ee24f833e07758212b0962dd2185055d10c121777752d5ba5bc4c24f25/DSC_0686.JPG" /&#62;&#60;img width="4928" height="3264" width_o="4928" height_o="3264" data-src="https://freight.cargo.site/t/original/i/170d0506aa6a29d5c114458bb090712ebe77fa2269e6d5baa226aa01da0a8afd/DSC_0681.JPG" data-mid="132364003" border="0"  src="https://freight.cargo.site/w/1000/i/170d0506aa6a29d5c114458bb090712ebe77fa2269e6d5baa226aa01da0a8afd/DSC_0681.JPG" /&#62;&#60;img width="3264" height="4928" width_o="3264" height_o="4928" data-src="https://freight.cargo.site/t/original/i/fd82b9c2cb295d22988cea739f063038dfb50230ea6e1e6560161461e209057e/DSC_0703.JPG" data-mid="132364006" border="0"  src="https://freight.cargo.site/w/1000/i/fd82b9c2cb295d22988cea739f063038dfb50230ea6e1e6560161461e209057e/DSC_0703.JPG" /&#62;&#60;img width="3264" height="4928" width_o="3264" height_o="4928" data-src="https://freight.cargo.site/t/original/i/8bed45907e7994afdb6b1d9bc81cdc2105740357d194bc2aea80cc437d4a0f6f/DSC_0672.JPG" data-mid="132364001" border="0"  src="https://freight.cargo.site/w/1000/i/8bed45907e7994afdb6b1d9bc81cdc2105740357d194bc2aea80cc437d4a0f6f/DSC_0672.JPG" /&#62;&#60;img width="4928" height="3264" width_o="4928" height_o="3264" data-src="https://freight.cargo.site/t/original/i/aed43a4cc9536e897409544fd0074b33323f52274139291d9862f44de170a2f4/DSC_0678.JPG" data-mid="132364002" border="0"  src="https://freight.cargo.site/w/1000/i/aed43a4cc9536e897409544fd0074b33323f52274139291d9862f44de170a2f4/DSC_0678.JPG" /&#62;&#60;img width="4928" height="3264" width_o="4928" height_o="3264" data-src="https://freight.cargo.site/t/original/i/29f03cad8bdf3f070ab5f2b5658786c96aafe486c4657b55b82f67a40f94c829/DSC_0649.JPG" data-mid="132364000" border="0"  src="https://freight.cargo.site/w/1000/i/29f03cad8bdf3f070ab5f2b5658786c96aafe486c4657b55b82f67a40f94c829/DSC_0649.JPG" /&#62;</description>
		
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	<item>
		<title>about</title>
				
		<link>https://erinmcross.art/about</link>

		<pubDate>Tue, 25 Jan 2022 22:40:06 +0000</pubDate>

		<dc:creator>erin m. cross</dc:creator>

		<guid isPermaLink="true">https://erinmcross.art/about</guid>

		<description>
  ABOUTERIN M. CROSS
 
b. 1996&#38;nbsp; &#38;nbsp;&#38;nbsp; erin m cross is a non-binary artist &#38;amp; curator concerned with our ecological and societal futures. They engage with mediums including plastics, glass, video, ephemera, and the body. In 2022,they completed their MFA from Sierra Nevada University’s Interdisciplinary Art program, now University of Nevada, Reno at Lake Tahoe.&#38;nbsp;
&#38;nbsp; &#38;nbsp; &#38;nbsp; Their work has shown at Sierra Nevada University in Incline Village, NV, State and Lemp in Boise, ID, The National Liberty Museum in Philadelphia, PA, Slover Library in Norfolk, VA, and in Richmond, VA at The Virginia Museum of Fine Arts, The Anderson Gallery, The Singleton Center, SEDIMENT Arts, Artemis Gallery, Studio Two Three, Iridian Gallery, and The Collegiate School. They have curated at Delia Dante Gallery, the Anderson Gallery and Artemis Gallery.</description>
		
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