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Submitted by ARTS Southeast
Nov. 5, 2025 – ARTS Southeast will present Speculative Structures, a small group exhibition featuring Savannah-based artists Eliza Bentz, Maggie Evans, Jennifer Moss, Sharon Norwood and Joanna Silver, on display from Nov. 7 through Dec. 13 at the Ellis Gallery, 2301 Bull St.
The exhibition will open with a reception from 5 to 9 p.m. Friday, Nov. 7, during First Fridays in Starland, with a closing reception scheduled for Friday, Dec. 5, also from 5 to 9 p.m.
For more information, visit artssoutheast.org/speculative-structures or see the Facebook event.
About the Exhibition
Speculative Structures brings together five artists whose works explore how social, material, linguistic and psychological systems shape human experience. Each artist reimagines structure as an active and evolving field, revealing how repetition, pattern and gesture can both uphold and dismantle the frameworks that define everyday life.
- Sharon Norwood reflects on the histories of Black labor and identity embedded in Savannah’s foundations. Through repetition and transformation, she converts inherited forms into subtle acts of resistance, transforming labor into authorship and remembrance.
- Joanna Paige Silver uses photography, cutting and reassembly to transform domestic imagery into a landscape of memory. Her vivid, fragmented compositions suggest nostalgia as architecture, where emotion and recollection reshape physical space.
- Maggie Evans examines individuality and conformity through paintings of uniform chairs and repeating architectural forms. Her work reveals the tension between belonging and erasure — the comfort of structure versus the cost of sameness.
- Jennifer Moss investigates natural systems, using the recursive patterns of growth, decay and regeneration to blur distinctions between control and chaos. Her fiber pieces disrupt familiar patterns, uncovering instability within natural order.
- Eliza Bentz merges craft, language and computation in her series Both / And, a collection of woven diptychs functioning as textile tablets encoded with binary data. By translating digital code into woven form, she reframes the loom as both a historical and speculative technology — a place where opposing truths can coexist.
Together, these artists treat structure as a speculative condition — a framework rewritten through use, memory and resistance — positioning material, labor and form as active agents in transformation.
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