Flatland Gallery June 28- July 28, 2019 Opening reception: June 28, 6-9pm Artist talk and closing event: July 28th, 7pm I forget where I was in Houston when I walked past a 1930s teal car with a rather large chromed trophy on its hood; an elongated mermaid with a ferociously arched back, hair blowing in the wind and serene expression on her face. Around the same time, I had been researching nautical figureheads, the trophy’s ancestral doppelganger, for a project I had just begun working on, which is why I gasped when I saw the slick figure hovering over the American automobile; a modern refashion of an ancient tale of rage and passion against the female body. For a while now, I have been amassing an archive of images; 17-19th century ship figureheads, 19th century photographs of the hysterics, 1930s-50s hood ornaments, women in late 19th century carnivals and magic shows, pin-ups, automatons, and visual documents of medical studies performed on women. As the collection grew, the images began to echo each other and mutate. The madness multiplied. The femme forms came back like weeds, like ghosts, resilient, confronting me with their histories of exploitation. In the exhibition, Those Who Levitate, these femmes return. A series of images from Hoehn’s archive are printed onto canvas through alternative photographic processes. Drawing on top of enlarged negatives, she then makes contact prints by exposing the canvas to the sun, and alters their color with teas and cleaning supplies. Monochromatic prints become sunken banners and backdrops, sail-like objects that spill onto the floor of the gallery. Small aluminum sculptures perch on their hanging apparatuses like birds or finials. Two bronze sculptures made by casting 3D prints of distorted hood ornaments and paper doll pieces rest on the floor. Using double imagery, each has multiple semi-hidden women. Whether a shadow, a double, or sister, these women travel in packs. An accompanying publication will be available at the exhibition, featuring image groupings from Hoehn’s archive and text by Ruslana Lichtzier.