Faculty of Art

Cross-Disciplinary Art: Life Studies

Madelyn Schutz

Everything I've Ever Known

Everything I’ve Ever Known was born from a deep longing to reconcile my adolescence and hometown memories after relocating to Toronto for university. As someone with anxiety, I often find comfort in familiarity, making it challenging to embrace change and move forward. This installation became my attempt to capture and preserve my childhood experiences in a tangible space, releasing me from the grip of constant reminiscence.I dedicated countless hours to revisiting old video game accounts, exploring Google Earth, jotting down friends' names and stories, and translating these memories into a cohesive installation. I discovered a pathway toward personal growth and healing through this creative process. For me, this installation represents a journey of sharing cherished objects and stories, while hoping to let go and embrace the present moment. Growing up as a triplet in a family of six, I felt like I had to create my world by myself. I was the sensitive, creative, daydreamer in a Minnesotan hockey family and often felt out of place. I found solace in objects, collecting, and creating worlds around me since it gave me a sense of self.One of my few memories of growing up in Georgia before we moved to Minnesota when I was four was walking around the neighborhood with a sandwich bag and picking up airsoft gun pellets. They were these tiny orbs in various colors made out of plastic, but to me, they were precious gemstones. Jane Bennet, philosopher and author of Vibrant Matter: The Political Ecology of Things argues that objects have agency and influence in many ways, beyond their intended purpose. A New Yorker Article titled “The Philosopher Who Believes In Things” describes the story of the author Morgan Meis on a walk around Baltimore with Jane Bennet. Meis writes “Ever since, we’ve tended to think of ourselves as living in a disenchanted world, from which all magic has been stripped”. Bennett asks us to entertain the possibility that “the world is not disenchanted”—“that is, not populated by dead matter.” Her response to the disenchantment of the world is to deny that it ever happened in the first place”. I found this quote to deeply resonate with me and my practice. I wanted Everything I’ve Ever Known to enchant the viewer and showcase my relationship with these objects because to me they are part of who I came to be. Everything I’ve Ever Known invites viewers into my universe, emphasizing the significance of objects and their profound impact on shaping identity. The installation’s focal point lies in the curated objects, each meticulously indexed and protected under plexiglass. Objects such as a lunch stick belonging to my fourth-grade crush, a teal journal filled with embarrassing comics drawn at sleepovers, or the specific 1986 edition of Are You There God? It's Me, Margaret.Amidst the COVID-19 lockdowns of 2020-2021, I observed a widespread trend among my peers in Generation Z—an increased inclination towards nostalgia and reminiscence. This collective embrace of nostalgia during times of uncertainty illuminated its profound significance as a source of comfort and solace for many. Inspired by this cultural phenomenon, I sought to infuse my body of work with the transporting power of nostalgia. Through the lens of nostalgia and the act of collecting, this installation invites viewers to reflect on their relationships with cherished possessions and the stories they encapsulate. By blending elements of older technologies and cultural references, I aim to transport viewers through time and space, sparking a collective journey of introspection and connection. In essence, Everything I’ve Ever Known celebrates the history of personal artifacts, highlighting the human desire to seek solace and continuity amidst life’s uncertainties and transitions.

“ Everything I’ve Ever Known explores the realm of personal nostalgia, evolving into a curated investigation of collective memory and shared cultural experiences. Through archival curation and imaginative reconstruction, Everything I’ve Ever Known endeavors to highlight the interaction between past and present, memory and emotion, within the tapestry of human experience. This installation aims to honor the enduring bonds and memories forged in youth. ”