Work for Shed was conceived as an effort to capture both the noun and verb form of the word. As a result, the installation and paintings for Shed convey a feeling of both permanence (noun) and transition (verb).
Recent personal work for Senetchko previous to this involved the construction of a replica of the family farmhouse that was used as the exhibition space for a series of work that chronicled a re-imagined version of his grandparent’s relationship. These paintings and installation were originally motivated by the death of his grandmother, and was initially approached as a coping mechanism. The entire series and its exhibition acted as both testimonial to the affection he has for his grandmother (and family history more generally), and a cathartic release of the grief that accompanied her death.
The testimonial and release in these works continues in Shed by incorporating both the materials and subject matter from that previous series. The paintings for Shed are installed within a portion of the farmhouse-replica that was recently used as an installation/exhibition space for Industry and the Sleepwatchers, and the materials (tarpaper and plywood) that act as the substrate for both paintings are the actual materials that were used for that structure. Both paintings depict multiple images sourced from the documentation of both its construction and deconstruction, and are populated with the figures of friends and family that were instrumental in the creation, and success of that exhibition. The temporary nature of this installation and structure represent the verb form of Shed, while the permanence of the paintings refer to its aspect as a noun.