Fawn Rogers

"Create or die"

 <em>R.I.P.</em>, 2022, faux fur, patinated bronze, 11x32x32 inches.
R.I.P., 2022, faux fur, patinated bronze, 11x32x32 inches.

As a child, Fawn Rogers would create sculptures out of the mud from a riverbank near her Portland, Oregon, home. She would work the earth with her hands to fashion small figures, which she then returned to the water. Years later, Rogers is still exploring “the unending conflict between human nature and the unbuilt world,” she says, through painting, sculpture, and video art. “The current geological era is, as I see it, a colossal crime scene, and we’re all personally involved.”

  • Car Meat, 2023, accident-impacted car hoods, casters, meat hooks, trolleys, automotive paint, 94 x 60 x 30 inches.

Rogers allows her own spontaneous attraction to materials to guide her creative process. Her recent works include R.I.P., which addresses animal extinction, and Car Meat, which speaks to the environmental harm caused by the cattle industry (and was exhibited in November at Gallery Marguo in Paris). Lately, Rogers has also been examining her Cherokee grandmother’s life, which she relates to the death of the natural world. “There are many intersecting themes,” she says, “among them the exacerbated challenges faced by Indigenous communities in the wake of greed, climate change, and globalization.” The through line in all her work is the hope that viewers will continue “to reevaluate their relationship with the natural world and to each other.”

Permission required for reprinting, reproducing, or other uses.

Noelani Kirschner is a former assistant editor for the Scholar.


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