The on-going project There are Ghosts in these Walls (2014-current), explores the idea that the presence of a previous occupant can be found within the walls of an abandoned building through the documentation of the space. The invisible traces that remain are the ghosts that are alluded to in the series title. The allure of these neglected, deteriorating spaces is the sense of history they convey, the ability to speculate on who was there before, and the means of characterizing the structure as an individual in its own right. By gathering visual evidence of previous inhabitants via the objects abandoned at these locations, the structure itself and its surrounding environment, Casagrande connects the viewer to place, seeking out and retaining the spirit of these places before they vanish.
Four weeks have passed since I left, 2019.
Bluebird of Happiness, 2018.
Untitled - AZ, 2018
Hillsboro, NM, 2018
Untitled - white wall and open book, 2018
Untitled - five panel door, 2018
I saw you from that very window there (2nd version), 2018
Untitled - deer tapestry, 2019
Untitled - blue tiles, 2019
Untitled - checkered linoleum, 2018
Raven House, 2015
Pink curtains, 2018
Meeting Hall, 2018
Untitled - barbed wire, 2018
Stay hesh, New Age trash, 2017
Untitled - corrugated shed, 2018
Untitled - blue shed, 2018
First Baptist Church, 2018
Hello old friend (2nd visit), 2018
Untitled - shadows & doorway, 2019
Meteor City, 2015
The parallax is defined as “the effect whereby the position or direction of an object appears to differ when viewed from different positions.” It is a common “error” with a variety of cameras where the position of the subject in the viewfinder does not line up with the camera’s lens creating a shift in the final image.
The Parallax as a collection builds from this definition in relation to how one would remember (or misremember) events, people, or places years later. The viewpoint of what is familiar is skewed and distorted due to the passage of time, rendering narrative elements and events as questionable, tenuous. This series of hybrid graphoscopes contain symbolic references to prior memories of dreams, family and place that have altered over the years. In asking the viewer to physically engage with the work, the memory is embedded as a sensorial experience akin to memory production as a child.
The Parallax, 2017-18. Mixed media installation. Variable dimensions.
As long as she lived, 2018. Mixed media graphoscope. 4” x 4” x 4”.
My grandmother was a complicated woman, 2018. Mixed media graphoscope. 4” x 4” x 4”.
The Parallax: Shadow, 2017–2018. Mixed media graphoscope.
The Parallax: Place, 2018. Mixed media graphoscope.
The Parallax: Memory, 2017–2018. Mixed media graphoscope.
My grandfather (ecco il mio avo), 2018. Mixed media graphoscope with redwood shelf. 5”D x 5W” x 19H”.
You don’t really want to know who I am, do you?, 2017. Mixed media graphoscope with redwood shelf. 5”D x 5W” x 19H”.
Stressors and other contributing factors, 2017. Graphoscope, vellum, hair, nails, wood. 5”D x 5W” x 19H”.
Maturity has everything to do with the acceptance of ‘not knowing’ (Exterior and interior view), 2018. Birch, vellum, thread, nails, encaustic, oil pigments. 4” x 4” x 4.”
The 21 Day Myth
The Dumb Supper
A performative piece centered around the Dumb Supper ritual.