earthpiecevii

[earthpiecevii]

Sasha Huber, Birch Oil, 2013, Metal staples on linen, wool, wood

From a seed to a trunk From a driftwood to a raft Unlike people - trees are quiet Unlike people - trees do remain Unlike people - trees burn Unlike people - trees are cut But unlike people - trees can fly From palm sap to birch oil

[earthpiecevii]

Ed Paschke, Ramrod, 1969, Oil on linen

[earthpiecevii]

Alfred Stieglitz, Shadows in Lake, 1916, Gelatin silver print

[earthpiecevii]

John Kurok, Heaven on Geese, 2016, smoke fired porcelain

[earthpiecevii]

Edith A. Smith, Grain Elevator, Halifax/ Cathedral of Industry, c. 1939, Oil on board

[earthpiecevii]

Tom Forrestall, Island in the Ice, 1987, Egg tempera on Masonite

[earthpiecevii]

Sigmar Polke, Figure With Hand ( I Am Made Dizzy With a Carpet of Rose-Petals), 1973, lithograph on paper

[earthpiecevii]

Oluseye, Ploughing Liberty, 2021, recovered hockey sticks and antique farm tools sourced from the US, Nova Scotia, and Ontario

[earthpiecevii]

John Chamberlain, GLEAMINGSPOTLIGHT, 1992, chromium-plated steel

[earthpiecevii]

Kent Monkman, The Ford Erections, 2014, acrylic on canvas

[earthpiecevii]

Ed Ruscha, Cold Beers Beautiful Girls, 2009, 3 colour lithograph

[earthpiecevii]

Carrie Mae Weems, Praise House and Pan of Water, from "Sea Islands", 1991-1992

[earthpiecevii]

Carrie Mae Weems, Untitled (Birmingham Blue) and Untitled (Blues and Pinks 3-1) from "The Push The Call The Scream The Dream", 2020

[earthpiecevii]

Carrie Mae Weems, Untitled (Industrial Landscape) and Untitled (Industrial Tanks) from "The Louisiana Project", 2003

[earthpiecevii]

Carrie Mae Weems, Passageway I and Passageway II from "The Louisiana Project", 2003

[earthpiecevii]

Hans Bellmer, La Poupée, 1935, Silver gelatin print

[earthpiecevii]

Hans Bellmer, La Poupée, 1938, Silver gelatin print