{"id":3346,"date":"2026-09-16T07:12:13","date_gmt":"2026-09-16T07:12:13","guid":{"rendered":"https:\/\/www.echoartfoundation.com\/a-hanging-fleet-and-haunted-busts-in-hew-lockes-the-wanderers-at-p0b7p0b7o0b7w\/"},"modified":"2026-09-16T07:12:13","modified_gmt":"2026-09-16T07:12:13","slug":"a-hanging-fleet-and-haunted-busts-in-hew-lockes-the-wanderers-at-p0b7p0b7o0b7w","status":"publish","type":"post","link":"https:\/\/www.echoartfoundation.com\/es\/a-hanging-fleet-and-haunted-busts-in-hew-lockes-the-wanderers-at-p0b7p0b7o0b7w\/","title":{"rendered":"A Hanging Fleet and Haunted Busts in Hew Locke\u0019s \u001aThe Wanderers\u001a at P\u0000b7P\u0000b7O\u0000b7W"},"content":{"rendered":"

Hew Locke\u0019s latest solo presentation, The Wanderers<\/em>, extends his long-standing inquiry into how people, capital, cargo, and ideas move across continents and centuries. On view at P\u0000b7P\u0000b7O\u0000b7W in New York through October 24, the exhibition returns to the artist\u0019s Odyssey<\/em> series and draws a bright line between seaborne exchange and the lingering afterlives of empire. Installation views are documented by Ian Edquist.<\/p>\n

A flotilla suspended between past and future<\/h2>\n

From the gallery ceiling hangs a fleet of miniature ships\u0014tankers and fishing vessels shoulder to shoulder with towering 16th-century galleons. Each is elaborately embellished: tiny pennants string between masts, foliage seems to sprout from hulls, and coats of colorful paint read as vibrantly aged patina. Together, the boats conjure a global history of trade and exploitation, sailing as one toward an undetermined future with the legacy of their pasts visibly in tow.<\/p>\n

Locke\u0019s practice has long circled geographically bound forms\u0014including superimposed drawings of Guyanese homes and suspended flotillas\u0014to map how power travels. In The Wanderers<\/em>, that investigation becomes both intimate and panoramic, miniaturized yet oceanic in scope.<\/p>\n

Souvenirs of power, edged with mortality<\/h2>\n

Conquest and the desire for control and wealth surface again in Locke\u0019s lavish busts, which he titles Souvenirs<\/em>. Crafted in mixed media on antique Parian ware\u0014a porcelain that emerged in the mid-19th century as an economical dupe for marble\u0014the sculptures depict figures like Queen Victoria and George Washington. Their surfaces are encrusted with glittering baubles and ornamental excess that revels in artifice and ostentatious displays of power. Several skeletons are embedded within the costuming, a memento mori that implicates these powerhouses in the afterlives of their colonial projects. The figures appear haunted by death and, as Locke says, are \u001cweighed down by the literal burden of history.\u001d<\/p>\n

Works on view include \u001cSouvenir 28 (Victoria)\u001d<\/strong> (2025), mixed media on antique Parian ware (22 1\/4 x 6 1\/8 x 5 3\/4 inches), and \u001cSouvenir 27 (Alexandra)\u001d<\/strong> (2025), also in mixed media on antique Parian ware (20 5\/8 x 15 3\/4 x 9 7\/8 inches), photographed by Damian Griffiths. The presentation also features watercolor and pencil works \u001cSpirit House 9\u001d<\/strong> (2026; 25 1\/2 x 30 1\/8 inches) and \u001cSpirit House 10\u001d<\/strong> (2026; 25 3\/8 x 30 1\/8 inches), alongside \u001cForeign Exchange 3\u001d<\/strong> (2026), a sculpture composed of plywood, tin, zinc, brass, copper alloys, jesmonite, plastic, synthetic fabric, acrylic paint, resin, fiberglass, enamel paint, and acrylic medium (33 1\/2 x 21 5\/8 x 20 7\/8 inches).<\/p>\n

The Wanderers<\/em> crystallizes Locke\u0019s preoccupations in a single, era-defying convoy: ships, busts, and spirits bound together by histories that refuse to loosen their grip.<\/p>\n

V\u00eda thisiscolossal.com<\/a><\/em><\/p>","protected":false},"excerpt":{"rendered":"

At P\u0000b7P\u0000b7O\u0000b7W in New York through October 24, Hew Locke\u0019s The Wanderers suspends a miniature flotilla from the ceiling and presents ornate Parian ware busts depicting figures like Queen Victoria and George Washington, all invoking global trade, exploitation, and the afterlives of empire.<\/p>","protected":false},"author":4,"featured_media":3345,"comment_status":"","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[20],"tags":[],"class_list":["post-3346","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-happening-now"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.echoartfoundation.com\/es\/wp-json\/wp\/v2\/posts\/3346","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.echoartfoundation.com\/es\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.echoartfoundation.com\/es\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.echoartfoundation.com\/es\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/www.echoartfoundation.com\/es\/wp-json\/wp\/v2\/comments?post=3346"}],"version-history":[{"count":0,"href":"https:\/\/www.echoartfoundation.com\/es\/wp-json\/wp\/v2\/posts\/3346\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.echoartfoundation.com\/es\/wp-json\/wp\/v2\/media\/3345"}],"wp:attachment":[{"href":"https:\/\/www.echoartfoundation.com\/es\/wp-json\/wp\/v2\/media?parent=3346"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.echoartfoundation.com\/es\/wp-json\/wp\/v2\/categories?post=3346"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.echoartfoundation.com\/es\/wp-json\/wp\/v2\/tags?post=3346"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}