Decker Gallery / MICA / 06–13 Apr 2012

Topological Sloppism

MFA Thesis / 2012

Local master / full wallThe completed exhibition reads as one connected field of images, texts, screens, objects, light, and visible infrastructure.

Exhibition: Topological Sloppism
Record: 42 public Cargo images
Dates: 06–13 April 2012
Venue: Decker Gallery, MICA, Baltimore

01 / Machine memory 02 / Archive 03 / Indexing

The room becomes an interface.

Wall texts, screens, numbered fasteners, lightboxes, printed fragments, and the working table sit beside one another as a system for storing and retrieving associations. “Machine memory / archive / indexing” are the verified coordinates. Reading the room as an interface is an interpretation made from the surviving documentation.

Thesis question / 2012
Who has authority over the archive—what is included, what is excluded, and how is it indexed?

Inside the exhibition

Local masters + public Cargo subset / observed descriptions

A person in a red hoodie works at the exhibition wall beside a ladder, toolbox, loose panels, and a large arrangement of images and text. — **02 / Working view.** A person works beside a ladder, toolbox, loose components, and the exhibition wall.

Orange geometric lettering and outlined script spell Topological Sloppism above a large grid of numbered fasteners. — **03 / Title and index.** The exhibition name sits directly above the field of handwritten identifiers.

Adjacent gallery panels layer philosophical text, photographs, handwritten marks, and black direct-address text. — **04 / Wall field.** Adjacent panels combine printed theory, handwriting, image fragments, and direct address.

Installation view with a worktable, monitor, studio stool, hanging bulb, and a layered wall composition behind them. — **05 / Worktable.** A working surface, monitor, stool, and hanging bulb appear against the wall composition in the documentation.

Three large mixed-media wall panels combine text, drawings, screens, photographs, and printed fragments. — **06 / Panels.** Three wall panels place text, drawing, images, photographs, and illuminated screens side by side.

Hundreds of colored fasteners are arranged in a rectangular grid, each marked with a handwritten number. — **07 / Index detail.** Repeated fasteners carry handwritten numeric labels across a rectangular field.

Illuminated text panel describes the three Moirai singing what was, what is, and what is to be. — **08 / Memory tense.** An illuminated text panel names past, present, and future through the three Moirai.

Dense black, white, and pink wall composition includes a yellow typographic panel and a black panel reading Don't Be An Asshole. — **09 / Direct address.** A yellow typographic panel and black direct-address panel sit across a dense black, white, and pink surface.

A worktable is covered with handwritten cards, scraps, diagrams, and sticky notes. — **10 / Working memory.** Handwritten cards, scraps, diagrams, and sticky notes cover the working surface.

Small colored components sit in a dark bowl on a worktable scattered with paper notes. — **11 / Components.** Small parts sit among loose notes on the working table.

Record boundary / two names retained

The archive stays visibly incomplete.

Verified title: The 2012 exhibition card reads Topological Sloppism.
Public container: The later Cargo project is titled MFA THESIS and contains 42 images.
Interpretive limit: The exhibition card, artist statement, and thesis essay establish the record; materials and dimensions remain unverified.

Open the on-site evidence dossier → Cargo source (opens in new tab) ↗