Glinsky’s latest series of paintings depict elements of Indigenous baskets, weavings, and pottery techniques, each functioning as conceptual guidelines for zoomed-in, oversized portraits of works by previous generations of artisans and their contemporary collaborators. Utilizing a combination of ink washes, oil sticks, and thick daubs of paint, these works reimagine the meticulous patterns of woven baskets or loomed textiles into vivid, blown-up abstractions using colors that naturally exist in the desert, if one knows where to look. Among these works will be paintings depicting cross-sections of Diné weaver Tytianna Harris’s loomed textiles. In My Friend Fred, 2024, Glinsky isolates and enlarges a small three-dimensional basket in the form of a cat made by Fred Cruz of the Tohono O’odham Nation. Rendering the uneven surface of the woven figure in a spectrum of olive and vivid green, navy and electric blue, gold and bright yellow, Glinsky reenacts the creation of the basket by painting the warp and weft of the piece, coil by coil. The color choices illustrate the life of a basket transitioning from bright hues of freshly harvested Beargrass, Yucca, and Devil’s claw to the aged nuance that develops over time. Surrounding the figure are pastel gradients composed through rhythmically applied palette knife strokes that convey Glinsky’s memory of a desert’s sky and land. 

These cartoon figures are also embedded within two coiled aluminum relief sculptures that combine formal elements of inlay jewelry and Tohono O’odham basketry. Monumentalizing utilitarian O’odham bailing wire baskets that originated in the late 1800s, Glinsky weaves each sculpture at a magnified scale to illustrate the interlocking technique specific to these cultural objects. The works are adorned with inlay aluminum and resin components to reflect pictorial and patterned weaving techniques of baskets traditionally made from harvested desert plants. In Wired Dust Up, 2024, Glinsky chain-links over 4000-feet of wire, connecting each panel before molding them to create a weblike vessel that visually references the iconic Looney Tunes fight cloud. The limbs escaping from this tumble of activity are carved from resin, each a contemporary take on Hohokam shell carvings.  

In creating the works in this exhibition, Glinsky evokes lived memory, metabolizing Indigenous knowledge through references to Tohono O’odham basketry or Hohokam cultural objects. As a result, Duration of Being Known showcases Glinsky’s practice as a fluid collaboration with time, cultural objects, and Indigenous artists working today.