Empathy, openness, slowness, and vulnerability—Full of Holes rejects capitalism and its aggressive commodification of the soul; in return, it explores an alternative mode of being, focusing on simple, slow living, and rewilding the self, by deeply and honestly reconnecting with the natural world, other species, and one another. It asks for a revolution, toward intricate sensitivity, radical love, collaboration, and vigorous engagement with the world—to make one’s self so receptive, so decidedly open that one becomes porous, becomes a body full of holes, for through these holes the light gets in.
Using photographs, video, installations of poetic text, illustrations, found oddities, and salvaged sculptures, interdisciplinary artist Erin Whittier looks to the land as teacher. Intently listening to learn, or rather, unlearn, how to be, she finds that the animate earth is full of mirrors and echoes, which advocate intersectional, decolonial, and sustainable coexistence: mirrors, to be inspired by, in the reclaiming of skills, and the construction of more hopeful futurities. Her work asks viewers to consider and respect the inherent value and life in all things—cows, stones, rivers—and peer into the interconnectedness, all those entwined energies, that make up the web of the world.