A Look Into Our Souls: “Detritus” at the Widener Gallery

Usually, when one thinks of the word “detritus,” they think of materials that have been thrown away, to be eaten up by the rest of the world’s trash. However, Faustin Adeniran, Marsha Borden, Kathryn Frund and Ian Trask created a whole new meaning to this word, taking what’s thrown away and restoring it into a beautiful work of art. The works of Faustin Adeniran, Marsha Borden, and Kathryn Frund are based in New Haven, Connecticut, and Ian Trask works primarily in Maine.

These four artists value the inner workings of the human mind, and they see trash as a constituent of everyone’s unique stories. Their art reminds the world of the damage that waste can inflict on the environment. The gallery was curated by its director, Lisa Lynch. 

The reception was presented lovingly to its viewers. Not only were food and drink provided, but Lynch welcomed everyone in with a smile. Upon gazing into the gallery, one is struck by the passion and individuality implanted into every piece. Each artist transformed certain waste materials into art that showcased their styles expertly, transfixing visitors with the devotion poured into each design.

Upon entrance, the first piece viewers are greeted with is Ian Trask’s “We’re Not Going Back.” Trask molded spheres of numerous materials to create a portal of wonder and transformation. With a quiet and inquisitive voice, he told the Tripod a little bit about the idea behind “We’re Not Going Back,” detailing how it is a “representation of forward progress.”  He outlined how he created this channel as a mirror to the future as we “open more doors” for the rest of the world. Trask constructed this piece to support the furthering of equality, displaying this through the widening channels of colorful aluminum spheres. Upon stepping behind his art, one could find it is even more of a wonder from the inside, like a rainbow after the rain.

Furthermore, Marsha Borden fixated on the beading of plastic bags, titling them the  “Stitched Bag Series.” Each bag was embedded with colorful thread, causing the viewer to be absorbed by the transformation of the plastic bag. Every bag possessed a simple phrase from each of its respective stores, giving the viewer a sense of normalcy but also a feeling of awe. There was even a quilt made out of solely plastic bags; it seemed comfortable to take a quick nap in.

Next, Kathryn Frund constructed a large expanse of patterns from synthetic clothing and mesh. Each was modeled after a specific body of water, like her reconstruction of the “Cape Cod Bay.” Amazement and inspiration enter the minds of the viewers upon this realization, and her designs are authentic representations of various ports, such as her aforementioned renowned iteration of Cape Cod Bay. Her mission is to give new value to discarded materials in her art and to remind mankind to protect their environment.

Last but not least, Faustin Adeniran put together stunning displays of various types of materials such as tar and aluminum. In his artist statement pulled from a handout at the gallery, Adeniran said that his “work is rooted in transformation.” The dark backdrop of the art urged eyes to focus on the centerpiece of his work. One incredibly interesting piece of his was “The Route,” an ominous and remarkable piece with a shadowy background and a red lantern lighting the way. It was like it was telling its viewers that even if they are lost in darkness, there will always be light. Each of Adeniran’s works compels its viewers to search for their personal meaning and reminds them not only of the burdens on the shoulders of humans, but also the burdens that humans place on the world.

“Detritus” recites a tale of nature, humanity and hope, but also of darkness and damage. The exhibition will continue until Oct. 28, 2024, shown from 1 p.m. to 5 p.m. Monday through Saturday in the Widener Gallery in Austin Arts Center. “Detritus” is open to all, and viewers will surely leave the gallery with a different view of humanity than they enter with.

This article was posted on Sept. 24, 2024, with multiple mistakes that have now been corrected. Thank you to Lisa Lynch who pointed said mistakes out and guided the Tripod through the process of corrections.