eeming at Soo Visual Art Center was Torey’s first solo exhibition. Seeming brings together a suite of sculpture, photography, and film portraying contemplations of mortality, the theater of reality, ritual, and temporality.

Torey examines the poetic nature of the physical world with an installation of “ash capsules” or stone urns with bronze cone shaped caps. The urns were drawn from her late grandmother’s ash burial in a curling rock. They are associated with humility, impermanence. “The birds will not even eat us, we are so full of toxins.”

These sculptures, along with photographs of raw silk point to the natural phenomenon of metamorphosis. She creates her own simple imposition of transforming a tree into paper, printing the geolocation of the tree onto the paper, encouraging people to transport themselves to the tree. In the gallery wall there is a peephole with films projected on the inside of the wall for the viewer to see - a window into a dream. A poem scrolls on the monitor in the gallery:

the possibility

that we could die young

was very real

I held a handful of smoke

our sense of separation

fell

away

into a dry world of enormous fluid

body

I spoke to the color yellow and its twin

they began

to breath (two breath)

we will be here for 9 seconds

and I brushedthedeadout of my h air, taking candid

pleasure in sharing the twins illusion

who will tell you

when you are on the wrong

latitude?

Spiraling out

of time

I forgot

all that I have ever written

The notion of objects, subjects, and things ‘becoming’ rather than being, is a major theme throughout the work. The world is breath and all that exists in it is form, closely bound to the structure of the crust.