Trask’s new work is inspired by her nine road trips across the breadth of the United States. Haunted by humanity’s impact on the land, Trask shifts perspective from peering through her bug-splattered windshield to a variety of scales, from bird’s eye view to close-up, each shift in perspective revealing the artist’s attempt to grapple with the relationship between humans and the land.
Driving along at eighty miles an hour on roads scarred by potholes, insight is limited. Yellow dashes demarcating lanes of the highway appear like rhythmic blips, much shorter than their true ten-foot length and there’s no way of knowing when you’ve crossed from Kansas to Colorado if not for the sign stuck into the side of the road. Overpowering natural and political boundaries the road connects vast distances and provides access to dramatic landscapes. The road is also a site of accidents, a density of death that we have become immune to. This takes its toll.
In Presbyopia, Trask primarily uses the two mediums of textiles and photography to reimagine the relationship between humans and their material environment. Fabric is sewn into blankets whose intimate scale mimics the dimensions of a bed, allowing the viewer a relationship to the land that is tangible and familiar to the body. Trask’s photography captures traces of human interference with the land, performing a related function through expansive images of the landscape. Through her use of craft and narrative, Lucinda’s work considers our reliance on inanimate matter and what responsibilities we hold to the material world.
After more than a decade in the fashion industry, Lucinda’s ideas began to spill far outside of the clothing form, expanding into new shapes and materials. Trask received her MFA in Art from California Institute of the Arts in 2019. She has shown at Canary TestGallery, Human Resources, Commons LA, and RedCat among others.