Empty Set
2-plate iterative etchings (edition of 72), found frames, hardware variable dimensions
2025

Empty Set and Structural Framing (installation view)
2-plate iterative etchings (edition of 72), found frames, hardware; reclaimed joists, plywood, subfloor and linoleum scraps, cast pewter levelers and spacers, salvaged plexiglass
variable dimensions
2025

Structural Framing
reclaimed joists, plywood, subfloor and linoleum scraps, cast pewter levelers and spacers, salvaged plexiglass
variable dimensions
2025

Structural Framing and Layers of Removal (installation view)
reclaimed joists, plywood, subfloor and linoleum scraps, cast pewter levelers and spacers, salvaged plexiglass; multi-layer relief and monotype prints, artist’s frames with magnetic trim
variable dimensions
2025

Structural Framing (wood detail)
reclaimed joists, plywood, subfloor and linoleum scraps, cast pewter levelers and spacers, salvaged plexiglass
variable dimensions
2025

Structural Framing (wood, inlay, and cast pewter detail)
reclaimed joists, plywood, subfloor and linoleum scraps, cast pewter levelers and spacers, salvaged plexiglass
variable dimensions
2025

Douglas Rogerson

Douglas Rogerson (b. 1994) grew up in Knoxville, TN USA and studied a combination of physics, philosophy, and art at Washington University in St. Louis, MO where he graduated with Highest Distinction. He subsequently received a fellowship at Akademie Schloss Solitude in Stuttgart, Germany under the disciplines of Visual Art and Humanities before joining Brooklyn’s fabrication industry for several years. His work has been installed in domestic and street-side settings, published in Schlosspost’s Gemini — The Journal, The Solitude Blog, Issue 03 of Passing Notes, and Tagvverk as well as exhibited at Herbert Von King Cultural Arts Center, Gallery 1010, Weatherproof’s “The Hole”, amongst others. He is a Gilbert Bayes sculpture grant awardee.

Trashed materials contain backstories of production, distribution, and function as well as narratives of their use and disuse. I collect, combine, and formalize such found items, refusing the distinction between ontological and personal but rather illustrating their dual estrangement and closeness. Recontextualized objects become referents for human forms, actions, and sentiments. Reciprocally drawings, prints, and sculptures embody the labor exerted to replicate industrially manufactured detail and scale. A sensitive yet resistant intimacy emerges from discards and disregards, which instantiate their histories and provoke reflection that concretizes our own.