confguration will be maintained by the means not shown, 2024 is made of a WWII nylon parachute framed in a stainless steel laboratory lattice and bound in leather that has been dyed and formed by the artist. The lattice, divorced from its intended function and gratuitous in application, suggests an unconventional attitude towards utility, one where the original use of materials are acknowledged in their subversion.

The parachute was manufactured by Reliance Manufacturing Co. in 1943, as is evidenced by a stamp on the material. Nylon was developed at this time as an ideal material for parachutes replacing highly refned silk previously used.

Elaine Cameron-Weir’s work often includes the discarded materials and weapons of war. Some materials, such as this parachute, come specifcally from WWII due to the artist’s interest in the technological advancements made from the late 30s to the late 60s, an era that extends from trench warfare to the moon landing. Curator Nina Bozicnik writes, “Throughout her work in sculpture and writing, Cameron-Weir grapples with questions of individual and collective human survival, while also considering the potential for renewal and transformation in states of being and forms of knowledge. Her work is informed by belief systems that structure how people make sense and meaning of the world - from science to religion to the nation state. Often repurposing objects with previous scientifc, medical, or military functions, Cameron-Weir creates exquisitely assembled forms that conjure speculative uses or ritual applications in times past and future.”

confguration will be maintained by the means not shown, 2024 is made of a WWII nylon parachute framed in a stainless steel laboratory lattice and bound in leather that has been dyed and formed by the artist. The lattice, divorced from its intended function and gratuitous in application, suggests an unconventional attitude towards utility, one where the original use of materials are acknowledged in their subversion.

The parachute was manufactured by Reliance Manufacturing Co. in 1943, as is evidenced by a stamp on the material. Nylon was developed at this time as an ideal material for parachutes replacing highly refned silk previously used.

Elaine Cameron-Weir’s work often includes the discarded materials and weapons of war. Some materials, such as this parachute, come specifcally from WWII due to the artist’s interest in the technological advancements made from the late 30s to the late 60s, an era that extends from trench warfare to the moon landing. Curator Nina Bozicnik writes, “Throughout her work in sculpture and writing, Cameron-Weir grapples with questions of individual and collective human survival, while also considering the potential for renewal and transformation in states of being and forms of knowledge. Her work is informed by belief systems that structure how people make sense and meaning of the world - from science to religion to the nation state. Often repurposing objects with previous scientifc, medical, or military functions, Cameron-Weir creates exquisitely assembled forms that conjure speculative uses or ritual applications in times past and future.”

confguration will be maintained by the means not shown, 2024 is made of a WWII nylon parachute framed in a stainless steel laboratory lattice and bound in leather that has been dyed and formed by the artist. The lattice, divorced from its intended function and gratuitous in application, suggests an unconventional attitude towards utility, one where the original use of materials are acknowledged in their subversion.

The parachute was manufactured by Reliance Manufacturing Co. in 1943, as is evidenced by a stamp on the material. Nylon was developed at this time as an ideal material for parachutes replacing highly refned silk previously used.

Elaine Cameron-Weir’s work often includes the discarded materials and weapons of war. Some materials, such as this parachute, come specifcally from WWII due to the artist’s interest in the technological advancements made from the late 30s to the late 60s, an era that extends from trench warfare to the moon landing. Curator Nina Bozicnik writes, “Throughout her work in sculpture and writing, Cameron-Weir grapples with questions of individual and collective human survival, while also considering the potential for renewal and transformation in states of being and forms of knowledge. Her work is informed by belief systems that structure how people make sense and meaning of the world - from science to religion to the nation state. Often repurposing objects with previous scientifc, medical, or military functions, Cameron-Weir creates exquisitely assembled forms that conjure speculative uses or ritual applications in times past and future.”

confguration will be maintained by the means not shown, 2024 is made of a WWII nylon parachute framed in a stainless steel laboratory lattice and bound in leather that has been dyed and formed by the artist. The lattice, divorced from its intended function and gratuitous in application, suggests an unconventional attitude towards utility, one where the original use of materials are acknowledged in their subversion.

The parachute was manufactured by Reliance Manufacturing Co. in 1943, as is evidenced by a stamp on the material. Nylon was developed at this time as an ideal material for parachutes replacing highly refned silk previously used.

Elaine Cameron-Weir’s work often includes the discarded materials and weapons of war. Some materials, such as this parachute, come specifcally from WWII due to the artist’s interest in the technological advancements made from the late 30s to the late 60s, an era that extends from trench warfare to the moon landing. Curator Nina Bozicnik writes, “Throughout her work in sculpture and writing, Cameron-Weir grapples with questions of individual and collective human survival, while also considering the potential for renewal and transformation in states of being and forms of knowledge. Her work is informed by belief systems that structure how people make sense and meaning of the world - from science to religion to the nation state. Often repurposing objects with previous scientifc, medical, or military functions, Cameron-Weir creates exquisitely assembled forms that conjure speculative uses or ritual applications in times past and future.”