The “Hung Out to Dry” series continues work centering on poverty, a first-hand experience for me. That poverty exists at all within our rich nation is disheartening. That over thirteen percent --- nearly forty million people --- live below the poverty level is criminal, ranking our country among the highest in industrialized countries.
The “Hung Out...” series impart the sad reality that nothing has changed since I was a young Jewish girl living in Woodhill projects in Cleveland. Projects today --- as they were years ago --- are a microcosm of our poverty, and remain the 900-pound baggage in the room. They engender shame and secrecy, defiance and criminality, and are sociality inhibiting. One is trapped in a project culture that turns inward on itself to survive, propagating the very issues from which one hopes to escape.
Windows within the “Hung Out...” installation symbolize the experience of being a prisoner within the project habitat, of one trapped on the inside looking out. It is a trap within the trap. I eclipsed the projects, not withstanding the memories that empower the narratives of the “Hung Out” series. Distorted shapes on the lines and floor are semaphoric symbols of these memories, and further, test the visual boundary between what we show of ourselves and what we truly are. The Woodhill projects of my youth were constructed on the site of a former amusement park, appropriately named Luna Park. After contemplating the journey of an amusement venue transcending to the wretched realism of a project, I am forced to smile a bitter smile at the realization of how the fantasy of escape pervades the two environments.