The solo exhibit in partnership with Arte Mexicano en Indiana features a collection of watercolor and gouache portraits as an invitation to be collectively vulnerable, to create and archive that speaks of intimacy and eroticism.

The exhibit highlights several extinct or threatened species in Posey County. The pre-human ecosystem in our area was abundantly populated and in natural balance. After man settled along the Wabash and elsewhere, this utopian equilibrium eroded to the point of dystopia. The world now faces environmental, social and economic catastrophe, while our perverted material culture still spreads an unrealistic ethos of fossil fuel powered unlimited growth, fast fashion, junk food and surveillance capitalism.

Full Disclosure’s mixed media works find inspiration in collective memory and how it’s intertwined with the natural world. Foreman looks at the relationship between symbolism in ancient sites, churches, and secret societies.

Hocking spent three weeks in Indianapolis gathering materials from the site, documenting, researching, and creating his installation. He hauled over 100 massive hunks of burned Styrofoam, multiple plastic blobs melted by fires, fragmented fast food signage, nifty anthropomorphic food-character murals, and dozens of other artifacts. He brought this all to Tube Factory. And he worked onsite while living in Big Car’s neighboring artist residency home. The resulting installation uses the main gallery as a kind of ceremonial site — the burned Styrofoam mountain could be a dystopian temple or future glacier.

In his first solo exhibit, Davis creates a room-shaking, fifteen-minute surround sound piece that traces the tragic and deadly ironies, lies, and realities comprising the Vietnam War. This, staged among ephemera and original illustrations by Chicago-based visual artist Keith Couture, are laid bare for us to sit with and listen through in hopes that we may gain a clearer understanding of the relationship between capitalism and the endless conflicts that occur for or against its profits.

Sister Song: The Requiem is a community-based project that examines how art and community co-creation processes can be used to heal the intergenerational trauma associated with enslavement and its aftermaths. The project, led by artist LaShawnda Crowe Storm, blurs the lines between the public and private by transforming mundane places into sacred spaces through public rituals. A requiem is an act of remembrance for the dead. How does honoring the dead give life to the living? How does the living remember their histories while creating new futures? How does embracing history help us release specific traumas and move toward a future where healing is possible? We explore these questions through the community co-creation process that is at the heart of Requiem: womb making.

Multi-genre visual artists Kelvin Burzon and Jenny Delfuego are creating movement-based work to accompany their visual art as part of a partnership between Big Car Collaborative and Indy Movement Arts.

In Summer 2020 a collective uprising rooted in local civic engagements ricocheted around the world in response to the murder of George Floyd by Minneapolis police officers. While this was going on, Graves photographed memorials, monuments, and sites of the antebellum South and the Confederacy. A Southern Horror is primarily a series of 175 non-fungible token or NFT works.

From the hands of a young person in China, to a shipping container crossing the Suez Canal, to a semi-truck driver transporting containers cross country, to people at the big box or mom and pop who unload them, to everyone going to the stores to buy things. These are carbon borders we’ve created 一 our feet, our cars, trains, planes, streets, and sidewalks all in motion. These borders both connect and divide us.