Her newest series, “Landscape of Pli” is a process of exploring the hidden truth which is Seeing the Unseen, Hearing the Unspoken, but also a spiritual journey of discover oneself at the end who knows nothing like Socrates said. To explore this, her work begins from the concept of ‘wrinkles’ (hereinafter referred to as ‘Pli’) often mentioned by Gilles Deleuze, a post-structuralism philosopher who explored the metaphysical relationship between ‘identity’ and ‘difference’.

Driven by the desire to contextualize this concept of ‘Pli’, she uses the fragments obtained from deconstructing her figurative paintings to create art that reinvents narrative and redefines meaning. For this, the collage technique was used dynamically and colorfully, and through the use of juxtaposition, she tried to expose the beauty in chaos. This Landscape is created by fragments of various shapes extracted from the original are placed in reverse front and back, the inside and outside are flipped, and the visible becomes invisible. 

Many Plis, stacked on top of each other, are irregularly warped, jagged and connected layer by layer. This multi-layered landscape is filled with ambiguous images of fragmented memories or senses, sometimes appearing like a thousand-year-old plateau where layers of time have been piled up.

To complete the psychological landscape of the abyss, dynamic energy is injected here through the careful use of saturated technicolor elements. Images that have absorbed color finally seem to come alive across the layers, then emerge as an illusion, and then suddenly lose their shape due to different layers or play as a different image than before. But they don’t come together to create a single narrative.

Through this approach, she want to show a journey in which images of multiplicity are connected to each other and repeat explications and implications creating another difference, and then re-creating themselves as something new. Above all, every image that completes the “Landscape of Pli” is as fluid like water, allowing for multiple interpretations, inviting viewers to peel back the many layers and will help them to discover the wise man’s wisdom underneath in the end : 

**_“I know that I know nothing.”_**

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Working across different media- film, video, installation, photography, sculpture, sound and text, Heydt presents an abstract proposition for a world on the periphery of history, one that not only appears haunted by the ghosts of the past, but built on it.  Heydt’s layered imagery conflate time and place, colliding and merging generations of possibilities, and disrupting logical relationships between occurrences.  Through her unique manner of expression, she presents a world exploited beyond use and increasingly reduced to a bottom line, one marked by mass extinction, product fetishism, diminishing resources, and patented seeds. The uncertainties and inevitabilities of which are drowned out by the the white noise of the media and the empty promises it proposes for the future it truncates. Combining images of destruction with portrayals of the virtues born from the American Dream, Heydt confronts the disillusionment of our time with the ecological and existential nightmare it is responsible for. 

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Her newest series, “Landscape of Pli” is a process of exploring the hidden truth which is **Seeing the Unseen, Hearing the Unspoken**, but also a spiritual journey of discover oneself at the end who knows nothing like Socrates said. To explore this, her work begins from the concept of ‘wrinkles’ (hereinafter referred to as ‘Pli’) often mentioned by Gilles Deleuze, a post-structuralism philosopher who explored the metaphysical relationship between ‘identity’ and ‘difference’.

Driven by the desire to contextualize this concept of ‘Pli’, she uses the fragments obtained from deconstructing her figurative paintings to create art that reinvents narrative and redefines meaning. For this, the collage technique was used dynamically and colorfully, and through the use of juxtaposition, she tried to expose the beauty in chaos. This Landscape is created by fragments of various shapes extracted from the original are placed in reverse front and back, the inside and outside are flipped, and the visible becomes invisible. 

Many Plis, stacked on top of each other, are irregularly warped, jagged and connected layer by layer. This multi-layered landscape is filled with ambiguous images of fragmented memories or senses, sometimes appearing like a thousand-year-old plateau where layers of time have been piled up.

To complete the psychological landscape of the abyss, dynamic energy is injected here through the careful use of saturated technicolor elements. Images that have absorbed color finally seem to come alive across the layers, then emerge as an illusion, and then suddenly lose their shape due to different layers or play as a different image than before. But they don’t come together to create a single narrative.

Through this approach, she want to show a journey in which images of multiplicity are connected to each other and repeat explications and implications creating another difference, and then re-creating themselves as something new. Above all, every image that completes the “Landscape of Pli” is as fluid like water, allowing for multiple interpretations, inviting viewers to peel back the many layers and will help them to discover the wise man’s wisdom underneath in the end : 

**_“I know that I know nothing.”_**

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Her newest series, “Landscape of Pli” is a process of exploring the hidden truth which is Seeing the Unseen, Hearing the Unspoken, but also a spiritual journey of discover oneself at the end who knows nothing like Socrates said. To explore this, her work begins from the concept of ‘wrinkles’ (hereinafter referred to as ‘Pli’) often mentioned by Gilles Deleuze, a post-structuralism philosopher who explored the metaphysical relationship between ‘identity’ and ‘difference’.

Driven by the desire to contextualize this concept of ‘Pli’, she uses the fragments obtained from deconstructing her figurative paintings to create art that reinvents narrative and redefines meaning. For this, the collage technique was used dynamically and colorfully, and through the use of juxtaposition, she tried to expose the beauty in chaos. This Landscape is created by fragments of various shapes extracted from the original are placed in reverse front and back, the inside and outside are flipped, and the visible becomes invisible.

Many Plis, stacked on top of each other, are irregularly warped, jagged and connected layer by layer. This multi-layered landscape is filled with ambiguous images of fragmented memories or senses, sometimes appearing like a thousand-year-old plateau where layers of time have been piled up.

To complete the psychological landscape of the abyss, dynamic energy is injected here through the careful use of saturated technicolor elements. Images that have absorbed color finally seem to come alive across the layers, then emerge as an illusion, and then suddenly lose their shape due to different layers or play as a different image than before. But they don’t come together to create a single narrative.

Through this approach, she want to show a journey in which images of multiplicity are connected to each other and repeat explications and implications creating another difference, and then re-creating themselves as something new. Above all, every image that completes the “Landscape of Pli” is as fluid like water, allowing for multiple interpretations, inviting viewers to peel back the many layers and will help them to discover the wise man’s wisdom underneath in the end :

**_“I know that I know nothing.”_**

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Inspired by the book "Other Minds", which discusses how the nervous system of octopi allows them to "think" with every part of their body. Less of sensors connected to a central processing unit like how we think of humans, and more of all arms and parts of the body doing their own searching and thinking independently. This series attempts to capture that feeling of exploration driven by curiosity. Reaching out, interacting, searching, feeling. This is not only reflected by the subject matter but the lines themselves. Loose and free-flowing, they were drawn with confidence but as little questioning or judgment as possible.

Searching

A feeling that plants hold deeper meaning, this piece uses foam pieces to form flowers and branch pieces to create a familiar figure of a potted plant. The suspended pot held up by a globe of wire fencing hints that there is another level of energy to the plant and that its roots may reach into unfamiliar parts of our world. The flowers, originally from a different piece, were created to represent death, and I was happy with the contrast created between the growth represented by a simple potted plant, and the harshness of the wire and scraggly branches, reminding me to not be afraid of exploring ideas of life that may appear intimidating or dark. 

Flowers 

Returning to a home after living away at school, I tried to capture the familiarity of my hometown combined with the sense of separation and pause that such a shift in pace of life created. 

Home

Confusion, anxiety, sickness, boredom, and lots of time to learn about Jean Michel Basquiat

In Place

Stanley knife blades, polystyrene balls, elasticated pvc fabric

Slice of Life

plastic translucent mouse mat, copper covered aluminium clip frame

Turbulence

brass wire lamp shade frame, Armaflex pipe insulation

Brace Yourself

There is no truth to search for, but an illusion to deconstruct. The Cartesian gap between desire, memory and reality accounts for the mutability of history. In its inexhaustible invention of deduction and speculation, the medium of film is nothing more than a chemically processed imprint causally connected to reality- bound to neither truth nor objectivity, but the subjective and universal. Images serve as stand-ins yielding mental copies of the external world we’ve grown increasingly estranged from. The medium has swallowed the message.


She Bruises Cold

Heterotopias are sites with no real place. They are sites that have a general relation of direct or inverted analogy with the real space of Society. They present society itself in a perfected form, or else society turned upside down, but in any case these utopias are fundamentally unreal spaces… disturbing, intense, incompatible, contradictory or transforming.


Artificial Stage

Harley’s practice explores ideas of everyday aesthetics with a focus on mundane throwaway objects. Our everyday lives are so repetitive that we often overlook the simple things in life and do not give enough love and attention to these objects. Through Harley’s mark-making and clever combination of the 2-D with 3-D, defamiliarisation occurs with the work. The objects Harley uses are found on the streets and have been rejected by the original owner. She re-purposes the neglected by defuncting the intention of the product. Harley up-cycles the objects to create a tension between high art and the disused. 

No More Nails

Shapes

The fellowship centers around two core components — teaching in the College of Art and producing work for a solo exhibition for the Saint Louis Art Museum’s _Currents_ series.

Teaching Fellows receive a $45,000 teaching award (inclusive of flights, car rental, lodging, food, etc.) and are in residence at WashU for the fall semester. During this time, they teach one class of their design in the College of Art and do individual studio visits with graduate students.

They also receive on-campus studio space and have full access to our shops, facilities, and libraries. Fellows deliver an artist talk as part of the Sam Fox School’s Public Lecture Series.

While on campus, fellows work with the Saint Louis Art Museum staff in conceptualizing their solo exhibition for the following year. They then return the next year for two weeks to install their exhibition and deliver a public lecture at SLAM. Fellows also receive an exhibition award from SLAM.

**_Teaching Award_:** Each fellow is awarded a teaching residency in the fall semester by Washington University and receives $45,000 (inclusive of ﬂights, car rental, lodging, food, and incidentals). Compensation is paid via payroll, with applicable taxes withheld. Foreign national awardees are brought to campus on J-1 visas, and taxes are withheld subject to applicable tax treaties between the United States and their country of residence.

**_Exhibition Award_**_:_ The _Currents_ exhibition is supported and organized by the Saint Louis Art Museum. Specific details are worked out during the fall teaching residency. 

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