Nick Fagan



You Will Always Be Dumb 2024, 
Hand Sewed Repurposed Crochet Blankets and Moving Blankets
72 x 72 x 2 in



Flatting Labor 2024,
Hand Sewed Repurposed Welding Jackets and Paint Mixers Coat 24 x 36 x 1 in




Melancholy Of Missing Someone 2022,
Hand Sewed Repurposed Crochet Blankets and Moving Blankets
48 x 60 x 2 in




Work Shirt 2 2024,
Hand Sewed Repurposed Work Shirt Made By A Friend
18 x 24 x 1 in




Manic Face 2024, 
Hand Sewed Repurposed Crochet Blankets and Moving Blankets
30 x 40 x 2 in



Work Shirt 2024,
Hand Sewed Repurposed Work Shirt from My Father
24 x 36 x 1




Weak 2023,
Hand Sewed Repurposed Moving Blankets and Childhood Sheets
20 x 26 x 1.5 in





Portal For Feeling 2024,
Hand Sewed Repurposed Sleeping Bags
147 x 147 x 1 in




Off My Meds I Can Feel Everything 2022,
Hand Sewed Repurposed Crochet Blankets Doilies and Moving Blankets 30 x 40 x 1.5 in






Eternity Is A Hell Of A Long Time 2024,
Repurposed Moving Blankets and Wood 72 x 168 x 72 in




The Cycle is Goofing Off 2024,
Hand Sewed Repurposed Doilies and Moving Blankets
24 x 36 x 2 in




   
Mother Vessel 2022,
Repurposed Crochet Blankets and Wood
43 x 144 x 43 in




Organs Of A Place 2023,
Hand Sewed Repurposed American Flags 60 x 108 x 1/8 in





Floating Garfield 2022, 
Wood and Auto Paint 48 x 60 x 24 in



“My work is a material reaction to my experiences with mental health, disability, religion, and labor. With my personal history in mind, my content spans topics including the spirituality of banal objects, ritual and transformation, the abstraction of language, and the humor and duality of masculinity. With a drawing practice as a foundation, and an interest in additive and subtractive sculptural processes, my work often begins with a close research of a found material. Combining playful experimentation with a system of rules and formulas to guide the process, the material research reveals a deeper history of an otherwise common object. Those physical traces of activity, such as scratches in a fragment of hardwood floor or stains on a used moving blanket, charge the material with a record that transcends an individual person or a specific moment. By searching for beauty in practical and utilitarian objects, my practice acts as a conduit for the material’s history to be seen through a spiritual lens. By referencing religious sacrament and ritual, I see material’s ability to transform from banal into divine, and hold more grand narrative than that of the individual who may have used or interacted with it under practical conditions. By accessing my personal history and meditating on experiences with spirituality and religion, language and disability, and the duality of masculinity I can explore tensions between the personal and the public. The use of banal materials in my work connects my specific personal identity to the common history of the public.”