There are moments when an organism can no longer distinguish what arrives from what has always been there. The body relinquishes certainty about the shape of its own belonging. Medical science gives this condition the name autoimmunity, but the circumstance it names is something more ancient than disease: the moment an entity can no longer sustain the fiction of its own coherence. Another metabolism begins. The self is no longer a fixed territory but a porous field through which unfamiliar forms of life, memory and matter quietly take up residence.

Supermrin's exhibition at the Weston Art Gallery gathers sculptures and drawings that dwell within this threshold. Throughout the exhibition, materials appear suspended within a process of becoming, as though they have become host to a force that cannot be wholly their own. A series of delicate colored-pencil drawings unfurl as tissue, root, weather, and nervous system simultaneously, refusing to settle into a single order of recognition. Red oak is steamed, bent, and charred, its injuries and deformations becoming the condition of its endurance. Common lawn grass, its very existence a vast and ubiquitous monument to humanity’s manipulation of the natural world, is broken down, dissolved, and reconstituted as a translucent skin that seems less manufactured than grown.

The works in the exhibition were produced over two years across transient locations: the World Trade Center in New York, the fields of western Massachusetts, and the artist’s studio at Wave Pool in Cincinnati. It emerged alongside long COVID, immigration proceedings, and the care for aging parents across great distances. These are conditions in which the body's boundaries become unstable, where attention, obligation, and exhaustion circulate through lives that can no longer be imagined as separate.

Something has entered. Or perhaps it was always there, waiting for the distinction between there and not there to fail. What emerges is neither catastrophe nor healing, but another way of belonging, one in which identity gives way to relation and the world, in all its strangeness, flowers inward.

Supermrin is an Indian artist whose sculptural practice combines foraged trees with a grass-derived bioplastic of her own invention. Drawing from biophilosophy, decolonial theory, architecture, material science, and speculative fiction, her research-driven work interrogates the capitalist and colonial logics embedded in the global lawn. Her long-term project, FIELD, was featured in Towards Another Architecture: New Visions for the 21st Century (Lund Humphries, 2024), a critical reappraisal of Le Corbusier’s legacy in the Global South amid escalating climate crises.

Supermrin’s work has been presented internationally at the Cincinnati Art Museum; MOCA Cleveland; the Contemporary Art Center, Cincinnati; the San Francisco Arts Commission Galleries; Untitled Art Fair (Special Projects), Miami; PS122 Gallery, New York; Château de Vaudijon, Switzerland; and Tactile Bosch, Wales. She is a recipient of the 2025 Anonymous Was A Woman Environmental Art Grant, the residency at Silver Art Projects in New York City, the Socrates Fellowship 2026, and a research member at Genspace biology lab in Brooklyn.