SAGE AHEBAH ADDINGTON
  • Sculpture
    • Performance
  • Printmaking
    • Papermaking
  • Painting
  • Video
    • Photography
  • About

Guerrilla Care, 2022

Handmade ceramic tiles grouted into spots that were missing bathroom tiles (some for years). Bathroom tiles glazed by the artist and by anonymous individuals of the Cooper Union community as an act of love.

Wasp Nest, 2023

Rolled corn husks and glue

SINGULAR Tree Branch, 2022 

Found branch, knots made with artificial deer sinew

Rape Quilt, 2021

Quilt made from underwear worn by the artist during moments in which they experienced unconsensual intimacy. Underwear ranges from 2015 - 2020.

Piles for OCCUPATION, 2021

Piles of black earth left in places "walkers" in Gallup, New Mexico are discouraged from standing. Piles represent the unsheltered Indigenous body. On going practice.

Broken Glass Murals, 2020

Murals made from the broken glass of liquor/alcohol bottles located in a field in central Gallup, New Mexico. This field is where many members of the community walk recreationally during the day and homeless relatives rest during the evening. Ongoing practice.

Sliding Puzzle, 2021

Laser etching, woodworking
Sliding puzzle consisting of confusing interactions the artist has experienced. 

Loominescent, 2018

Found objects (chairs, crates, plastic bags, branches from invasive trees, etc), deer sinew, cork

Series exploring the beauty and necessity of adaptation intrinsic to Navajo culture due to all that has been adopted as traditional.
For example, one is “authentic” if they can make fry bread (though originally made with flour and lard given in relocation camps), or if they can weave (weaving sheep wool is not Indigenous to the US, and sheep are considered an invasive species). 
The weaving of the unnatural with the natural is necessary; a threatened group either evolves or goes extinct.
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  • Sculpture
    • Performance
  • Printmaking
    • Papermaking
  • Painting
  • Video
    • Photography
  • About