Gerri York, A Wolf is not a Dog, from the A Wolf is not a Dog series, 2023–25, archival inkjet print, faux fur, video projection, 60 x 69 x 81 cm. Courtesy of the Artist.
Gerri York, Are We Human or Are We Chimeras?, from the A Wolf is not a Dog series, 2023–25, archival inkjet print, acrylic paint, textiles and yarn, 152.5 x 45 x 15 cm. Courtesy of the Artist.
Gerri York, A Collective Howl, from the A Wolf is not a Dog series, 2023, archival inkjet print, faux fur, 48 x 71 x 38 cm. Courtesy of the Artist.
Gerri York, Bear, from the A Wolf is not a Dog series, 2022, archival inkjet print, acrylic paint, faux fur, 45.7 x 40 x15 cm. Courtesy of the Artist.
Gerri York, Peacock, from the series A Wolf is not a Dog series, 2024, archival inkjet print, silk, 81.5 x 38 x 25 cm. Courtesy of the Artist.
Gerri York, Duck, from the A Wolf is not a Dog series, 2024, archival inkjet print, flocked Styrofoam, 68.5 x30 x25 cm. Courtesy of the Artist.
Gerri York, All That I Said I’d Do, from the A Wolf is not a Dog series, 2016–25, gelatin silver photo paper test strips encased in resin, 25 x 10.5 x 3 cm. Courtesy of the Artist.
Gerri York: A Wolf is not a Dog
Opening Reception
Saturday, March 28, 1– 4 pm
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A Wolf is not a Dog proposes sculpture and photography as a hybrid language, where folds, light, and chance collapse human and animal distinctions into embodied forms. Gerri York’s photo- based sculptures begin as small, folded-paper sculptures in the darkroom, which are later placed under the enlarger light. Once exposed, they are unfolded, transformed into photographic prints, scanned, and digitally enlarged. Then much larger prints are re-folded and combined with multimedia elements into three-dimensional sculptures.
Manipulating photo paper and darkroom chemicals produces abstract images that hover between interior and exterior, revealing and concealing. The folds hold within them a tension between what is seen and what is hidden. These works exploit this uncertainty, creating surfaces that are suggestive of life forms and processes of becoming. The black-and-white imagery points to the history of photography, suggesting something just happened and the ineffable presence of the animal.
Conceptually, York positions these sculptures within contemporary discourses on animals and the non-human. Donna Haraway’s “A Cyborg Manifesto” (1985) explores the idea that all animals are cyborgs and, in the sense that all humans are animals, she does not differentiate. It is this entanglement of organic and artificial that informs the work. The sculptures point toward the blurred boundaries between species, nature, and artifice. It is not just the condition of their well-being and survival; animals interrogate our humanity, reminding us of other ways of sensing and communicating.
Please note this exhibition is not wheelchair accessible.