THE WIND COMES LATER
The Wind Comes Later brings together a group of artists who pay attention to moments that slip by - soft shifts in light, materials that break down, spaces that are changing, or images that feel like memory. Each artist approaches this in their own way, but there’s a shared sense of curiosity about what’s in between: between holding on and letting go, between what’s seen and what’s felt.
Through sculpture, photography, and print, the works in the exhibition trace the quiet processes that shape us - erosion, repetition, repair. Meaning unfolds slowly, through gestures that are often ephemeral or incomplete. Rather than offering resolution, these pieces invite reflection: on what lingers, what fades, and how we make sense of the spaces in between.
The exhibition is on view at Hodges Taylor as part of the 2025 Organizer Series from May 30 to July 12 and is open by appointment. Email s.jedski@gmail.com to set up an appointment.
REUBEN BLOOM
Reuben’s work explores the intersections of cultural memory and ecological tension through subconscious conceptualism. Their approach synthesizes photography, sculpture and found objects to engage in a material dialogue about the metaphysical flux of shared spaces and histories. Central to this collection are objects transformed by heat and the metaphor of fire ecology.
“There are many interlocking conflagrations that punctuate the journey to self. Occasionally the forest of ideas about who we are must burn in order for new life to propagate and thrive.”
Reuben Bloom graduated from Winthrop University in 2011. They are a multidisciplinary artist based in Atlanta, GA whose work intersects with photography, sculpture, and film. Bloom’s work has been exhibited and published across the Southeast, including exhibitions at the Gibbes Museum of Art, The Atlanta Center for Photography, Goodyear Arts, Winthrop University, among others. They are a 2024 Atlanta Artadia Awards Finalist. www.reubenaverybloom.com
Image: REUBEN BLOOM, View From Sylvan Ave, 2024, 120mm color negative, archival inkjet print, edition of 5, 30 x 40 inches.
BRENT DEDAS
The Honeybee Blueprint Project is an ongoing series that began exploring rituals of life and labor. The invisible labor of living honeybees is recorded using life size unique photograms that are made in the sun (not from a digital negative). The resulting “blueprint” is a record ofl ight, time, and labor within an atmosphere of vast uncertainty. In the fleeting moments that pass during exposure, bees move and vibrate. This movement causes the bees to appear as little ghosts, or soft glowing orbs of light. These new images from the project reflect upon rituals of death and rest .
The Medic: My grandfather was a medic in World War II. Honeybees carry their dead to the front of the hive as a ritual within their life cycle. These two concepts inform this installation of workson paper. Each red cross image is made up of many dead honeybees and salt. The bees were donated to my project by local beekeepers.
Light, Time, Labor, Dust: These works appear as atmospheric abstractions from a distance. However, a closer look allows viewers to discover the individual and recognizable bee shapes. Quiet moments, side by side, documenting the aftermath of labor rituals and suggesting the passing of time. Worker bees live 15–38 days in the summer and 150–200 days in the winter. Growing up in a working-class blue-collar southern American family has greatly influenced my artistic themes. Being on and around construction sites, as a child and through adulthood, influenced my concepts of building and destroying. Years later these ideas have led to a focus on the “worker bees”. Whether it be rising of sea levels, a warming planet or the rise of poverty, it is the “workerbees” who will feel the brunt of relating hardships. Their struggles and way of life have much in common with our own.
Brent Dedas (b. 1977) was born and raised in Louisville, KY. He received his Master of Fine Arts degree along with a Museum Studies Curatorial Certificate from the College of Design, Art, Architecture, and Planning, University of Cincinnati. His Bachelor of Fine Arts is from the University of Louisville, Hite Institute of Art and Design. The artwork Dedas creates employs processes that express a duality of both construction and destruction. His work over the last 20 years has been centered on labor, ecology, and the use of materials which have a voice of their own. Dedas maintains an extensive exhibition record both in the U.S. and internationally. His work was included in the Coined in the South: 2022 exhibition at the Mint Museum in Charlotte, as well as Art/NaturSci Pavilion: Equilibrium exhibition at the 2019 Venice Biennale within Palazzo Albrizzi-Capello in partnership with the German-Italian Cultural Association (ACIT). In 2018 his work was exhibited at Humboldt-Universität in Berlin, Germany. Other international exhibitions include: Art Prague International ArtFair, SoloProject Room, Kafka’s House, Prague, Czech Republic (2014). Brent Dedas is currently an Associate Professor of Art at the University of South Carolina who lives and works in Columbia, SC. www.brentdedas.com
Image: BRENT DEDAS, Medic No. 115, unique lensless photogram via cyanotype process on archival paper / Dead honeybees, earth and salt, 26 x 26 inches.
JAMIL FATTI
Idle Hearts is a personal project born from the quiet aftermath of a break-up in 2020, exploring the poetics of love and loss. Through moments both tender and turbulent, this work reflects on the desire for connection and the inevitable fragility it carries. It contemplates the tension between the fleeting euphoria of intimacy and the ache of its unraveling, asking whether the pursuit of love aligns with our deepest longings — or whether it leaves us with quiet remnants of what was, and the impossibility of its return.
Jamil Fatti (b. 1990) is a Gambian-American artist whose work explores themes of transience, memory, and the search for meaning in impermanence. He holds a Master of Fine Arts from the Rhode Island School of Design (RISD) and dual Bachelor’s degrees in Landscape Architecture and City & Regional Planning from Cornell University. Blending photography with narrative nuance, his practice reimagines fragments of the external world into evocative, subjective scenes that reflect on vulnerability, loss, and the passage of time. His work has been exhibited internationally and across the United States, in venues such as the Atlanta Contemporary Art Center, Microscope Gallery in New York, Filter Space in Chicago, Trastienda Machete Galeria in Mexico City, and Millepiani Gallery in Rome. Rooted in the ephemeral, Fatti's recent projects explore the quiet emotional resonance of fleeting moments. His work is held in public and private collections, including the RISD Museum, and has been featured in publications such as The New York Times, Atlanta Center for Photography’s New South, and Float Magazine. The artist lives and works in Atlanta, GA. www.jamilfatti.com
Image: JAMIL FATTI, Untitled, from the series Idle Hearts, 2021, archival pigment print, edition of 5, 10. x 8 inches.
SUSAN JEDRZEJEWSKI
Capturing makeshift and coincidental encounters within the natural world, the work begins with an intentionally imperfect process, where patterns and forms emerge from snapshots of dynamic, ephemeral events. Layered with competing dualities, each piece reflects a physical act with nature while also acknowledging a sense of distance from it.
The Held Gently and Fragment series deepen this investigation into impermanence and perception through materials that do more than hold an image—they shape it. The physical qualities of packing paper and pine boards interrupt the transfer process, introducing interference, resistance, and unexpected shifts. Each material leaves its mark, guiding how an image is absorbed, broken apart, or allowed to drift. In both series, the image is not fixed but responsive, shaped by the surface it encounters. As the transfer process unfolds, subtle distortions and rhythms emerge. These works invite a slower kind of looking, where meaning is found not in what’s fully seen, but in what hovers just out of reach, revealed through the friction between material and image. Ambiguity invites attention, and a sense of beauty takes shape through what’s suggested rather than defined.
Susan Jedrzejewski (b. 1983, American) is a Charlotte-based artist who captures makeshift and coincidental encounters within the natural world. The resulting work, layered with competing dualities, recounts a physical act with nature, but also one’s distance from it. Her work has been exhibited regionally at Goodyear Arts, Central Piedmont Community College, UNC Charlotte, and Greensboro Project Space, and nationally at Florida State University Museum of Fine Art (Tallahassee, FL), Lodger Gallery (Kansas City, MO), Treat Gallery (New York, NY), and Rochester Contemporary Art Center (Rochester, NY), among others. In 2024, she was awarded a Creative Mecklenburg Grant from the Arts & Science Council. Susan holds a BA in Studio Art from UNC Charlotte (2006) and an MBA from Queens University of Charlotte (2017). www.susanjedrzejewski.com
Image: SUSAN JEDRZEJEWSKI, From the series Held Gently, 2025, photo transfer on packing paper, 16.75 x 12.75 inches framed.
ANNABEL MANNING
Annabel Manning’s Swash images materialized from daily experiences of the ebb and flow of sedimentary exchange on Sachuest Beach, as described by Walt Whitman on a different waterfront:
“Miles walking, the sound of breaking waves, the other side of me” with “Chaff, straw, splinters of wood, weeds, and the sea-gluten, Scum, scales from shining rocks, leaves of salt-lettuce, left by the tide.”
My own bodily presence is reflected as shadowy figures rippling on the thin layer of water and swash bubbles drifting over the sand. Along with the sediment, my reflections and shadows are sinking and swimming, unsettling and settling, fragile and firm.
The exchange, shadows, and bubbles are captured in photographs and then transformed into digital paintings—with sand as pixels, bodies as negative space, seaweed as lines.
Many of the “Swash” images can be viewed in seascape or portrait orientation as a continuation of the dialogue between human and natural figuration on the Sachuest shoreline.
As I wend to the shores I know not,
As I list to the dirge, the voices of men and women wreck'd,
As I inhale the impalpable breezes that set in upon me,
As the ocean so mysterious rolls toward me closer and closer,
I too but signify at the utmost a little wash'd-up drift,
A few sands and dead leaves to gather,
Gather, and merge myself as part of the sands and drift.
Annabel Manning is a visual artist and educator based in Middletown, Rhode Island. Born in Mexico and also raised in Peru, Argentina, and the U.S. Annabel’s multicultural background informs her work and artistic approach. Previous to relocating to Rhode Island in 2020, Annabel worked as a social practice artist in New York City and Charlotte, NC, where she developed art and literacy programs for various communities, including undocumented immigrants, bilingual families, and incarcerated individuals. Her work has been showcased in solo and group exhibitions across the United States and internationally, including in Block Island, New York City, Charlotte, Durham, San Francisco, LA, Boston, Liverpool, and Germany. She holds a B.A. from Sarah Lawrence College, a B.F.A. in Painting and Video from the Massachusetts College of Art, and an M.F.A. in Experimental and Documentary Arts from Duke University. She currently teaches at the Newport Art Museum. www.annabelmanning1.myportfolio.com
Image: ANNABEL MANNING, Swash Stills: Portrait #1, 9/10/20, 3:27pm (2022-24), Archival digital painting on velvet fine art paper, 19.5 x 15.5 inches each framed.
MATTHEW STEELE
Drift / Harbor considers how temporary structures, built for utility rather than permanence, can mirror aspects of traditional architecture. Often improvised and responsive, these constructions are shaped by necessity instead of aesthetics. Trees grow in a similar way. Their forms emerge through environmental response - branches chasing light, roots following water. Over time, what begins as a series of temporary decisions becomes a solidified, living timeline of adaptation. The trestle framework blends traditional craft with makeshift function, echoing the organic yet intentional way a tree grows. Its form follows the sinuous contour of a found limb, charting its path while remaining grounded in a consistent architectural logic.
Fault began with a set of rough, bark-edged walnut boards. Once milled into slender strips, each revealed a consistent break: a faultline likely caused when the tree was felled and hit the ground. Over time, air and water softened the fractures and stained them charcoal black. Rather than remove or correct these imperfections, I chose to preserve them, allowing the material to guide the outcome.
Matthew Steele is a public artist and sculptor who lives and works in Charlotte, North Carolina. His practice explores how technologies of the self are often reflected in the physical technologies that we produce. Steele's sculptures are included in private and public collections nationally and internationally, including Ritz-Carlton, AXA, Marriott, Wells Fargo, Honeywell, TIAA, Truist, Art in Embassies, among others. His work has been exhibited at Lotus Projects, Mint Museum of Art , The Sculpture Center, Greenhill Center for North Carolina Art, the University of North Carolina at Charlotte, Central Piedmont Community College, Winthrop University, among others. He has been awarded artist residencies at McColl Center for Art + Innovation (2012) and Goodyear Arts (2015), he is the recipient of an Emerging Creators Fellowship from the Arts & Science Council (2022), and he is included in the publication, Art of the State: Celebrating the Visual Art of North Carolina, by Liza Roberts. Steele received a BFA in sculpture from Indiana University. www.mtsteele.com
Image: MATTHEW STEELE, Fault, 2024, walnut, copper rod, 23-gauge nails, 36 x 50 x 5 inches.
ERIK WATERKOTTE
In a world of dwindling resources and rising costs, I am moved to examine more sustainable practices in my artistic production. For the last 4 years I have pursued a practice of creating mixed-media works that are carbon-neutral. In my recent work, found and foraged materials intersect on layers of recycled handmade paper. Combining print, photography, and drawing, I layer abstract and representational forms together to examine the intersection between inherited belief, the environment, and Phenomenology. Iconography and archetype based on my religious upbringing and life-long fascination with the occult are juxtaposed using stenciling, screen-printing, and relief printmaking. My artworks confront and question viewers’ ideologies through an anxiety ridden, apocalyptic glamour.
Erik Watercotte is an Associate Professor of Print Media in the Department of Art & Art History at the University of North Carolina-Charlotte where he also serves as the Associate Chair. Waterkotte received his M.F.A. from the University of Alberta and his B.F.A. from Illinois State University. He is co-founder of Theurgical Studies Press, a modest publisher of weird and occult zines and novelties. Born in central Illinois (where his family dates back over a century), Waterkotte is inspired by his family’s history as exiled Catholics from Germany’s Kulturkampf. He is fascinated by spiritualism and mysticism and believes in the power of meditation, yoga, and resonance. He has exhibited his artwork both nationally and internationally including at Sztuka na Miejscu in Wrocław Poland, the University of Alberta in Canada, the University of Dallas in Texas, and Saltgrass Printmakers in Salt Lake City Utah. His artwork is part of several collections including the Weisman Art Museum at the University of Minnesota, the Zuckerman Art Museum at Kennesaw State University, and the Purdue University Galleries. Waterkotte has received awards from juried exhibitions at institutions such as at the Morgan Conservatory of Papermaking, Texas Tech University, and the Appleton Museum of Art. He has participated in several major residencies including the Kala Art Center, the Virginia Center for Creative Arts, and the McColl Center for Art & Innovation. Waterkotte resides in Charlotte, NC. www.erikwaterkotte.com
Image: ERIK WATERCOTTE, Ghosts over Dead Language, 2024-25, handmade recycled paper from dated HTML manuals and Merriam-Webster dictionaries, blow-out stencils with pigmented pulp, screen-printed pigmented pulp and screen-printed NC red clay.