b'This concern for time, wherein Saxon-Hill confronts and offers a response to a climateenvironmentally, politically, and sociallyin the throes of heightened instability and vitriol, as well as probes fundamental questions around the way in which truth is conveyed through the rhetoric of images and the recording of objects, is highlighted in the Sapporo series (2016) presented here. Consisting of twenty-seven pieces, four on current view, these works resemble human forms in conditions of occupation and action. Originally made for a sub-way platform in Sapporo, Japan, which was more akin to an underground city (restaurants, stores, and places of respite), these pieces are interested in the pedestrian and visual landscape of the everyday. These works are formed from other source images originally published in the 1960s, and Saxon-Hill assembled these images to create photographs in and of themselvesprints shaped, collapsed, and made anew from preceding captured moments of art. With the Sapporo series, Saxon-Hill culled images from a broad history of European, Oceanic, African, and Japanese artworks, as well as images of artists bodies published in modern art books, and created figurative collages within the existing image frames of the books them-selves. Saxon-Hill then had these collages photographedthey were made only in service of the final large-scale photograph. While the singular photographic surface flattens the collage, belying its materiality, the appearance of torn edges, imperfect cuts, and distraught textures in the images reminds us of the physicality of paper and objects. There is a suggestive play with modernist methodology, the murkiness within ideal form, erased historiographies, and technology and human accountability. Masters and mastery are critiqued in form, medium, and disposition. Questions of modernist revisionism and/or a recovery of Africanist forms, human beings or the figuring of humanness, and the primary-ness of the art object are offered by this series.Saxon-Hill interrogates the order of things and the value of use. Here the spectacle and fever of every day is met by the artists call to slow down. Here one can marvel (and one should) but not for too long, as what it is you are looking at shifts perception toward a series of dis-cursive entanglements around time, knowing, and source.76'