To stand in the Badlands of South Dakota is to watch deep time made visible — layers of sediment, eroded into spires and ravines, recording millions of years in a single eroding face. It is a landscape that has shaped Christopher Kurtz since childhood, and one that now gives its name to this career-spanning survey of his sculptural and design practice.
This publication brings together the essays and conversation that accompany the exhibition. Theoretical Physicist and Astrobiologist Sara Imari Walker considers Kurtz's carved forms through the lens of assembly and emergence — what it means for complexity to arise, layer by layer, from simple beginnings, whether in stone, wood, or living matter. Design historian and curator Glenn Adamson, a longtime observer of Kurtz's work, traces the artist's engagement with material, labor, and the deep history of the crafted object. And in conversation with gallerist Sarah Myerscough, Kurtz reflects candidly on the origins, obsessions, and evolving concerns that have driven two decades of work at the intersection of sculpture and studio furniture.
Together, these voices open up a body of work that treats wood not as a passive material to be shaped, but as a record of time, pressure, and growth — echoing the very landscape that gives the exhibition its name.
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