dimensions variable; multi-channel video installation; 2024. Courtesy of the artist
COLLAGE ON VIEW
Kirby Miles: cherrymilk & Carrie Fonder: Post Hoc
at Good Children Gallery in New Orleans, Louisiana, USA
14 June-6 July 2025
Artist Talk and Exhibition Tour by Carrie Fonder
Friday, 27 June 2025, 5PM, part of Kolaj Fest New Orleans
In “Post Hoc”, Carrie Fonder extends the explorations she began in her 2024 exhibition “Non Sequitur”, originally commissioned by the Alabama Contemporary Art Center. Both installations reflect on the cyclical nature of ideas, life, and sculptural materials, reimagined through multi-channel video installations.
Fonder’s recent work embraces fractures and composites, leaning into the illogical jumps that disrupt predictable systems. Non sequitur—Latin for “it does not follow”—and post hoc—“after this”—both reference logical fallacies that question causality and coherence. In Post Hoc, Fonder embraces this sensibility, as her work echoes the fragmentation of contemporary experience.
Fonder uses humor as a tool of investigation, probing issues of power and complicity through humor and kitsch. In “Post Hoc”, sculptures gain a second life as digital performers, animated in video sequences that extend their presence and shift their meaning. By highlighting this duplication, Fonder invites viewers to consider the mechanics—literal and metaphorical—behind what we see, how it’s made, and how meaning is assembled.
6″x6″; epoxy, acrylic, glitter, plastic on canvas. Courtesy of the artist.
Kirby Miles: “cherrymilk: a rise of spit and sacrement”
This is a devotional practice made of mess. Queer, maximal, and holy in its disobedience. Each piece is a love spell for the unbeautiful, a relic of femme power too loud to be polite. Objects of worship, yes, but for saints who bleed rhinestones and oracles who speak in blush and bondage.
They refuse restraint. They want to be seen in their too-muchness, to glitter until your gaze softens in surrender. Devotional sites for the queer, the femme, the heretical. Each one hums with contradiction: altar and wound, doll and witch, saint and slut.
No clean lines. Only eruption. Paint spills like perfume. Crystals scatter like broken rosaries. Beauty is not passive, it bites.
This work revels in the sacredness of artifice, where glitter mirrors liturgy and excess becomes prayer. Using materials deemed unserious-cosmetic shimmer, rhinestones, toy pearls, synthetic foam-I construct devotional objects that blur the holy and the profane.
She is lacquered in longing. She glitters where she bleeds.
What was discarded is resurrected as relic. Layer by layer, the cheap becomes ceremonial,
dripping with power, memory, defiance. Each piece is a reliquary of queer divinity, a lipstick-stained hymn, a love letter to the femme, the witch, the heretic…
(text adapted from material provided by the artists)
INFORMATION
Good Children Gallery
4037 Saint Claude Avenue
New Orleans, Louisiana 70117 USA
info@goodchildrengallery.com
Hours:
Saturday-Sunday, Noon-5PM