Other works featured in LIVESupport include «Church State,» a two - part sculpture comprised of
ink - covered church pews mounted on wheels; «Ambulascope,» a downward facing telescope supported by a seven - foot tower of walking canes, which are marked with
ink and adorned with Magnetic Resonance Images (MRIs) of the spinal column; «Riot Gates,» a series of large - scale X-Ray images of the human skull mounted on security gates and surrounded by a border of
ink - covered shoe tips, objects often used by the artist as tenuous representation of the body; «
Role Play Drawings» a series of found black and white cards from the 1960s used for teaching young children, which Ward has altered using
ink to mark out the key elements and reshape the narrative, which leaves the viewer to interpret the remaining psychological tension; and «Father and Sons,» a video filmed
at Reverend Al Sharpton's National Action Network House of Justice, which comments on the anxiety and complex dialogue that African - American police officers are often faced with when dealing with young African - American teenagers.
Paper played a major
role in Laura Sharp Wilson's layered biomorphic abstractions in acrylic and graphite on Unryu, mulberry or silk paper, and it was used as a support for many of the pieces in Lori Ellison's copious exhibition of patterned abstractions in
ink on notebook paper as well as gouache on wood (both shows were
at McKenzie Fine Art on the Lower East Side).