Among the works on view will be two installations of Agee’s hand painted wallpaper, one featuring a recreation of the home of the British neoclassical architect John Soane, and the other depicting the interior of her parents’ home in Japan, which echoes the childhood house in which she was raised. The eclectic and highly stylized Soane house stands in contrast to the carefully balanced 50’s modernist, Minge-influenced interior, offering two visions of domesticity, one formal and one functional. Together, the two large-scale works provide the framework for the exhibition, inviting visitors to encounter the sculptural ceramic works on view.

Agee challenges our definition of craft through elevating utilitarian objects to the level of artwork – in taking a frame, vase or plate, for example, and turning it into a ceramic sculpture. Many of the works are stamped with Agee Manufacturing Co., a signature of sorts, exemplifying Agee’s desires to replicate, copy and mimic pre-existing forms; the stamp creates a mirage that the work is a multiple and not unique when in fact, replicated or not, all of Agee’s works are unique. This play between art, material and function, is a constant point of exploration for Agee, and much of her work playfully tows the line between object and artwork, form and function, handmade and readymade.

Many of Agee’s works meditate on the traditional role of women in the house, and the way in which they construct and influence an interior. Agee has created a series of opulent vases, floral mirrors, and abstract standing sculptures, which will be interspersed with welded steel chairs. Variously referencing 1930s decorative arts, Rococo ornamentation, mid-century modern and abstract sculpture, the works offer an astute alternative to appropriation.