- Griffin Swartzell
Nuclear warfare and its consequences have weighed on her mind for some time. A series of four pieces, dubbed “Toxic,” sees mesh screens built into clothing, painted and hung.
“It [suggests] the feeling of ghosts and shadows,” she says. With strong light shining through, they’re meant to evoke how people’s shadows were burnt into the landscape when nuclear bombs hit Hiroshima and Nagasaki. They’re haunting.
Another piece, dubbed “The Gadget,” is based on the plutonium-core implosion-type bomb of the same name that served as the base design for Fat Man, the bomb dropped on Nagasaki, Japan, on Aug. 9, 1945. It’s made from a globe she had as a child, painted gray, covered with gauze and tubing. We bond over the piece — I went to college 35 miles from the Trinity test site, where The Gadget was detonated.
Lynn brings up trinitite, the radioactive green glass that resulted from the heat of the Trinity test melting the sand nearby. She has three installation pieces, dubbed “Green Glass Sea,” that hypothesize the desert landscape after a blast.
A piece dubbed “Generations,” explores how memories and stories change and decay over time.
“I view my parents’ generation as being a clear recollection,” she says. “[It’s] decay, deterioration, even Alzheimer’s or dementia.”