Sharona Franklin “Axioms of Care” curated by Laura Stellacci LambdaLambdaLambda 09.09. – 16.10.2021
We are happy to finally share the artist talk between Sharona Franklin and curator Laura Stellacci.
Sharona Franklin in conversation with Laura Stellacci on occasion of the exhibition Axioms of Care at La Maison de Rendez-Vous in Brussels
Axioms of Care is the first solo exhibition of Canadian artist Sharona Franklin in Europe. The exhibition is curated by Laura Stellacci at La Maison de Rendez-Vous for LambdaLambdaLambda. In addressing notions of care, ableism, neuroethics and precarity within the semi-domestic space of the gallery, Axioms of Care illuminates the psychedelic experience of disability. Highlighting aspects of hallucinogenic perceptions of time and duration induced by medication and pharmaceuticals while centering tactility as a healing method, Sharona Franklin uses the consciousness-expanding qualities of psychedelia in the performance of daily life rituals.
IMAGE DESCRIPTION: A bile green tufted wool rug with graphic elements covers the top half of a wall, framed by wooden panelling. A bubbly-shaped all-caps font in black wool reads “If it ain’t care, it ain’t careful.” Each of the four corners of the rug displays a decorative graphic element composed of 5 s-shaped forms, arranged so that two are facing each other pointing into each corner and three of the same size are aligned in a row to complete a triangle shape.
In her work, Franklin enacts a radical acceptance of her bio-citizenship. Her sculptural, photographic and textile works paired with her expansive approach to writing, typography and design meditate on 23 years of being a patient of bio-pharmaceutical and transgenic treatments for degenerative disease. Through a reclaiming of disability-narratives, she questions the power of educational systems, bureaucracies and biopharmaceutical industries over the bodies they sustain and nurture. From the perspective of her lived experience, she considers the inherent ambivalence of these systems and the ways in which their mechanisms operate — their healing effects, their side effects and the harm they produce.
Connecting the mind-body complex, childhood PTSD, and chronic childhood disease, Franklin’s Drosophila Clocks point to the notion of crip time and pharmaceutical impacts on circadian rhythms. Time, for people living with degenerative diseases and disabilities, often takes on a psychedelic quality. 12 silver heritage spoons encrusted with pharmaceutical pills and miniature photographs on their handles, evoke clocks or compasses. The images are part of Franklin’s series New Psychedelia of Industrial Healing. Prior to injecting her antibodies, and as a daily ritual, Franklin sets up a “live cell altar” where she photographs the syringe in assemblages of props and objects that embrace the medical necessity, interjecting tensions between the domestic and the techno-scientific. The syringe is photographed within a 10-20 minute span, as the antibodies are required to be between 2-8 degrees to maintain efficacy.
Pharmaceutical treatments and medical systems typically carry clinical and dehumanising implications, while affecting and existing within the bodies and homes of people with disabilities. By affirming the personal empowerment of the medical experience, Franklin’s work is an act of self-submission to continuous change and transience.
Complicating the relations between different approaches to healing methodologies by intertwining psychedelic and plant-based medicine with the pharmaco-industrial complex, Franklin’s bioshrine sculptures are dehydrated gelatin suspensions of pills, syringes, metal hardware and medicinal flowers that embody the tensions and contradictions of bio-pharmaceutical care. The installation of bile green tufted wall pieces interweaves the topics of prenatal eugenics, biopharma and the anti-vax movement — at what costs will parents avoid caring for a disabled child? How can we better embrace and value the lives of children living with disabilities? What messages of encouragement or equality are we sending to kids with lifelong conditions?
For Franklin, psychedelia is total immersion. An entire biocybernetic rewiring of how information circulates and is metabolised. In the wake of a global pandemic, the need for a shared awareness of our vulnerabilities and our interdependencies is more pressing than ever to counter the prevailing capitalist understandings of resilience, wellness and self-care. This exhibition proposes ways of harnessing our own neuroplasticity by fostering a deeper understanding of how we interconnect chemically, physically and spiritually.
IMAGE DESCRIPTION: A wood panelled room with fishbone parquet flooring and in-built furniture. Centred in the image is a fireplace with a dark bronze hood and an embossed black metal plate underneath, where the hearth would have been. On either side of the fireplace are benched alcoves with leather upholstered walls and glass lamps hanging from each alcove’s ceiling that are switched off. Above the seat padding, encased again in panelling, the spaces are filled with a bile green tufted rug. On each side, placed in the center of each rug, are two wall pieces made of silver spoons. Eight spoons are arranged in an inner circle with the tips of their handles touching and the front of the spoons facing outward. Four more spoons are on the outer ring, each placed in the position of the directions on a compass: North, East, South and West. On the far left of the image, the same bile green rug covering the upper half of the left wall of the space is partly cut off. It’s writing reads “..’t care/’t careful.” The fireplace is decorated with tiles painted in a pattern of green lozenge shapes with white stars and circles on an orange background. Above the hood is a wooden mantlepiece with two wooden columns framing a mirror. The corners of the bile green wall rug on the opposite wall are reflected in the mirror. Bordering the right side of the image is a storage cabinet that is only half visible. The cabinet has four lower shelves and a cupboard on top with a leaded stained and milk glass door. Along the right wall run three wooden cupboards with metal grid windows in the doors. The windowsill above these cupboards is made of rose-coloured marble and metal bars are visible on the outer side of the three frosted glass windows. IMAGE DESCRIPTION: Framed by wooden panelling, a bile green tufted rug wraps the inside of an alcove’s two walls that intersect at a 90 degree angle, from left to right. A switched-off glass lamp hangs from the ceiling, which is cut off by the image’s top border. A wall piece made of twelve silver and golden heritage spoons sits directly on the rug in the center of the image. Eight spoons form the inner circle of a star shape, the tips of their handles touching and the front of the spoons facing outward. Four more spoons are on the outer ring, each placed in the position of the directions on a compass: North, East, South and West. The spoons are submerged in the wool pile of the rug and display tiny images on their handles that reference pop-culture rather than traditional enamel designs. Each concave front of the spoons has a different kind of pill encrusted to it, some spoons have two pills. IMAGE DESCRIPTION: A wall piece made of twelve silver and golden heritage spoons sits directly on a bile green rug in the center of the image. Eight spoons form the inner circle of a star shape, the tips of their handles touching and the front of the spoons facing outward. Four more spoons are on the outer ring, each placed in the position of the directions on a compass: North, East, South and West. The spoons display tiny images on their handles that feature a syringe and reference pop-culture rather than traditional enamel designs. Each concave front of the spoons has a different kind of pill encrusted to it, some spoons have two pills. The pills are differently shaped and sized, as well as being made of different materials. Some are actual pills, yellow, blue, red and white, while others are light brown made out of carved wood and bone.IMAGE DESCRIPTION: A wall piece made of twelve heritage spoons in silver and gold on a white background sits in the center of the image. Eight spoons form the inner circle of a star shape, the tips of their handles touching and the front of the spoons facing outward. Four more spoons are on the outer ring, each placed in the position of the directions on a compass: North, East, South and West. The spoons display tiny images on their handles that feature a syringe and reference pop-culture rather than traditional enamel designs. Each concave front of the spoons has a different kind of pill encrusted to it, some spoons have two pills. The pills are differently shaped and sized, as well as being made of different materials. Some are actual pills, yellow, blue, red and white, while others are light brown made out of carved wood and bone. The outer spoon on the right, facing East, has a front part that is shaped like a concave shell, with a pill in the center and another pill attached to its rim. Facing South on the bottom, another spoon has a handle with a tiny cherry dangling in a metal frame.IMAGE DESCRIPTION: Centred in the image is the doorway of a wood panelled room with fishbone parquet flooring leading to a second room. The walls on either side of the doorway have wooden panels that cover the bottom half, as well as framing the top part of the wall, each displaying a bile green tufted rug. The bile green rug has graphic elements in black wool worked into it. The rug on the left wall displays text in an all-caps black serif font that reads “We don’t care the gender as long as they’re healthy.” The rug on the left wall displays text in an all-caps black serif font that reads “All any parent wants is a healthy baby.” Both fonts have a saloon-style look, but they differ slightly from each other in their size, proportions and weight. Each of the four corners of both rugs display the same decorative graphic element composed of 5 s-shaped forms, arranged in a triangle shape, so that two are facing each other pointing into the rugs’ corners and three more shapes of the same size are aligned in a row to complete a triangle. Both walls are adjacent to a wooden door with glass window inserts. On the right side of the image, in close proximity to the wooden door, a quad cane walking aid stands freely in the space. Its middle part is made of clouded gelatin, with a suspension of flowers, pills and a syringe inside. The foot and the handle are made of silver metal, with rubber feet. The handle is wrapped in wool string and has a loop of braided white wool fastened with a clasp dangling from it.IMAGE DESCRIPTION: Framed by wooden panelling is a bile green wool rug with graphic elements in black wool worked into it. The rug displays text in an all-caps black serif font that reads “We don’t care the gender as long as they’re healthy.” The font has a saloon-style look. In each of the four corners of the rug there are decorative graphic elements composed of 5 s-shaped forms, arranged in a triangle shape as follows: two elements facing each other point into the rugs’ corners and three more shapes of the same size are aligned in a row to complete a triangle.IMAGE DESCRIPTION: Framed by wooden panelling is a bile green wool rug with graphic elements in black wool worked into it. The rug displays text in an all-caps black serif font that reads “All any parent wants is a healthy baby.” The font has a saloon-style look. In each of the four corners of the rug there are decorative graphic elements composed of 5 s-shaped forms, arranged in a triangle shape as follows: two elements facing each other point into the rugs’ corners and three more shapes of the same size are aligned in a row to complete a triangle.IMAGE DESCRIPTION: A quad cane walking aid stands freely in a wood panelled room with fishbone parquet flooring. Its middle part is made of clouded gelatin, with a suspension of flowers, pills, a syringe and medical tubing inside. The foot and the handle are made of silver metal, with brownish-red rubber feet. The handle is wrapped in wool string and has a loop of white braided wool fastened with a metal clasp dangling from it. A ring of white tapioca pearls encircles the base of the cane where it connects to its foot.IMAGE DESCRIPTION: A close up of a silver metal walking aid’s handle, the lower part of which is made of cloudy gelatin that has a yellow-tinted colour to it, through which a daisy and a red leaf are visible. The handle is wrapped in wool and string, on the flat back of the handle the off-white string winds in concentric circles. Attached to the handle is a metal ring, through which a loop of braided white wool dangles, its two ends attached with a metal clasp.IMAGE DESCRIPTION: A quad cane walking aid stands freely on a fishbone parquet floor, in front of a white wall. Its middle part is made of a suspension of clouded gelatin, with pills running upwards in a helix-shaped pattern, flowers, a syringe and medical tubing inside of it. The foot is made of silver metal, with brownish-red rubber feet. A ring of white tapioca pearls encircles the base of the cane where it connects to its foot.IMAGE DESCRIPTION: A detail of a cloudy, yellow-tinted gelatin cane, in front of a fishbone parquet floor, wooden skirting and a white wall. In the suspension, there are yellow and white pills running upwards in a helix-shaped pattern, as well as daisies and a red leaf.IMAGE DESCRIPTION: A brass chair stands in the front room of two rooms that connect through a doorway. The chair fills the right section of the image. It has handles that curve to a spiral and metal bars on its back. A dark wooden cut out shape lies in place of a seat, on top of which there is a curved piece of hardened gelatin, of a yellow-tinted transparency. Along the wall behind the chair is a large built-in wooden cupboard. One of the cupboard’s drawers is pulled out, displaying a sculpture on a white board that fits the drawer seamlessly on top. There is a patch of bright sunlight on the bottom left corner of the wardrobe. Both rooms have fishbone parquet floors, wooden skirting on the white walls and wood panelling along the edges. Visible through the doorway in the left section of the image is a marble window sill under a frosted glass window and a bile green tufted wall rug that fills the top wall part of a benched alcove. On the bile green rug there is a star-shaped sculpture made of silver spoons and a glass lamp hangs from the ceiling above. IMAGE DESCRIPTION: A golden brass chair stands in the middle of a room.The chair has handles that curve to a spiral and metal bars on its back. A dark wooden cut out shape lies in place of a seat, on top of which there is a curved piece of hardened gelatin, of a yellow-tinted transparency. The room’s walls are white with wooden skirting and it has fishbone parquet floors. There is a green marble corner fireplace to the right of the chair. The fireplace is sealed by a sand-coloured wall, where the hearth would have been, and decorated with a border of dark brown tiles around its frame, as well as decorative tiles in a brighter shade of green that are aligned under the mantlepiece. Along the wall to the left of the chair is a large built-in wooden cupboard. One of the cupboard’s drawers is pulled out, displaying a gelatin sculpture on a white board that fits the drawer seamlessly on top.IMAGE DESCRIPTION: A golden brass chair stands in front of a white wall with wooden skirting and a fishbone parquet floor.The chair has handles that curve to a spiral and metal bars on its back. A dark wooden cut out shape with waves at the front lies in place of a seat, on top of which there is a curved piece of hardened gelatin, of a yellow-tinted transparency. Visible inside of the seat’s hardened gelatin suspension are pharmaceutical pills, medical IV-tubing, flowers, a syringe and a circle of tapioca pearls that runs along the inside of the piece’s rim. IMAGE DESCRIPTION: An image taken from an overhead position of a golden brass chair with spiraled handlebars and a back of metal bars. A piece of dark brown wood with petal-shaped edges and an oval cutout in the middle lies in place of the chair’s seat, on top of which there is a round piece of hardened gelatin, reminiscent of a lid with a curved, wavy edge. Inside the hardened gelatin sculpture there are pharmaceutical pills, medical IV-tubing, a syringe, screws and other metal hardware, flowers, sunflower seeds and a ring of tapioca pearls that circle along the inside of the sculpture’s rim.IMAGE DESCRIPTION: A large built-in wooden cupboard fills most of the image. The right of the cupboard’s two drawers is pulled out, displaying sculpture on a white board that fits the drawer seamlessly on top.The sculpture has a curved shape and is made of white plastic and gelatin, with other objects visible in its transparency. The room has white walls, wooden skirting of the same wood and fishbone parket floor. There is a patch of sunlight towards the bottom of the wardrobe”s left edge. Next to it, the wood panelled wall of another room is visible, displaying a section of a bile green rug with black graphic elements. IMAGE DESCRIPTION: A curved off-white plastic comb lies on a white background. The comb’s handle is enveloped in hardened gelatin that has a resin-like appearance, its surface is pleated, revealing the shape of its mould. Inside the yellow-tinted transparency of the gelatin, the comb’s plastic handle is wrapped in wool and encrusted with other objects like a syringe, a piece of bone, a butterfly made out of gold metal as well as some pills. A single line of twine is woven through the comb’s teeth and attached on both sides.IMAGE DESCRIPTION: Three sculptures, slightly larger than a human hand, hang on a white wall in unequal distance to one another. From left to right, a mushroom-shaped blade of a knife and a curved spoon, each with a gelatin handle hang in close proximity. At a further distance hangs a metal fork with a hinged handle, allowing the fork to bend like the hands of a clock in the position of 8:30. The fork’s handle is made of cream coloured plastic, encased by a piece of bone that is shaped to fit loosely around it. Attached to the handle is also a pink bow and a small yellow pill on the fork’s second circular hinge, just above the handle. Further to the right, on the same wall, is a brown door with leaded and stained glass window inserts on the top. The door is closed. The far left of the image is bordered by a window frame of the same dark brown wood and a corner of its green marble windowsill.IMAGE DESCRIPTION: Three sculptures hang on a white wall in unequal distance to one another. From left to right, a mushroom-shaped silver metal blade of a knife and a curved silver metal spoon, each with a gelatin handle, hang in close proximity. In the yellow-tinted transparency of the gelatin, the devices’ off-white coloured handles are visible, encrusted with pills and flowers and some metal hardware. The spoon’s handle contains an IV port as well. The knife’s handle has a rectangle shape that is slightly twisted, as if it had been squeezed and its front edge has a rim that is curved and wavy. The spoon’s handle is oval-shaped, its front rim is curved and wavy, similar to the knife handle’s edge. At a further distance hangs a metal fork with a hinged handle, allowing the fork to bend like the hands of a clock in the position of 8:30. The fork’s handle is made of cream coloured plastic, encased by a piece of bone that is shaped to fit loosely around it. On the handle there is also a pink bow and a small yellow pill inside a metal ring, attached on top of a piece of purple string that was wrapped around the fork, just above the handle.IMAGE DESCRIPTION: Two sculptures hang on a white wall. The left piece has a mushroom-shaped silver metal blade and a gelatin handle. The knife’s handle has a rectangle shape that is slightly twisted, as if it had been squeezed and its front edge has a rim that is curved and wavy. On the right is a silver metal spoon, the front of which curves to the left. In the yellow-tinted transparency of the gelatin, the devices’ off-white coloured handles are visible, encrusted with pills and flowers and metal screws. The spoon’s handle contains an IV port as well. The handle is oval or drop-shaped, its front rim is curved and wavy, similar to the knife handle’s edge. It has two coin-sized areas that are of a darker brown colour, separated by a pill in between. IMAGE DESCRIPTION: A mushroom-shaped silver metal blade with a transparent gelatin handle hangs on a white wall. The knife’s handle has a rectangle shape that is slightly twisted, as if it had been squeezed and its front edge has a rim that is curved and wavy. In the yellow-tinted transparency of the gelatin, the device’s off-white coloured handle is visible, wrapped in yellow surgical tubing and encrusted with flowers and a metal screw. IMAGE DESCRIPTION: A silver metal spoon with a drop-shaped gelatin handle hangs on a white wall. The front of the spoon curves to the left and its tip is slightly divided into two soft scallop-shapes, rather than a pointy tip. In the yellow-tinted transparency of the gelatin, the device’s off-white coloured handle is visible, encrusted with pills and flowers and a metal screw. The spoon’s handle contains an IV port and a piece of medical tubing as well. The handle is oval or drop-shaped, its front rim is curved and wavy. It has two coin-sized areas that are of a darker brown colour, separated by a pill in between that has N 25 written on it in small black letters. IMAGE DESCRIPTION: A metal fork with a hinged handle hangs on a white wall. The hinge allows the fork to bend like the hands of a clock in the position of 8:30. The fork’s handle is made of cream coloured plastic, encased on the bottom by a piece of bone that is shaped to fit loosely around it. On the handle there is also a pink bow and a small yellow pill labelled with the number 25 in thin black font. The pill sits on the inside of a metal ring, attached on top of a piece of purple wool that was wrapped around the fork, just above the handle.IMAGE DESCRIPTION: A series of sculptures in a room with white walls and wooden lacquered door, door frame and further details, such as skirting. The door has frosted glass window inserts and a small black metal handle. It is slightly elevated from the ground, with two steps painted in a brown colour leading up to it. The floor is grey linoleum. There are two white rectangular plinths, not quite a meter high, on either side of the brown door, each displaying a semi-transparent gelatin sculpture. More pieces hang on the walls. On the right wall above the plinth there is an oval-shaped piece with a dark brown center and a ceramic rim protruding outward. Three more are arranged in an arc on the wall to the left of the second plinth, left of the door. They are hung in unequal distances to one another. They also contain objects inside the suspension of translucent, yellow-tinted hardened gelatin.IMAGE DESCRIPTION: A series of sculptures in a room with white walls and wooden lacquered skirting. The floor is grey linoleum. A white rectangular plinth, not quite a meter high, displays a round semi-transparent gelatin sculpture with curved edges. Three more pieces hang on the wall arranged in an arc to the left of the plinth. They are hung in unequal distances to one another. These pieces also contain objects inside the suspension of translucent, yellow-tinted hardened gelatin.
IMAGE DESCRIPTION: An image taken from an overhead position of a round semi-transparent gelatin sculpture with curved edges, displayed on a white rectangular plinth, standing in front of a white wall. Inside the suspension of translucent, yellow-tinted hardened gelatin there is a wicker basket, three white-petaled violets as well as pills and tapioca pearls arranged in a circle at the bottom of the bowl. Between each white pill there are dark brown areas, each approximately the size of a coin. The bowl’s rim thins out towards its curved edge and is almost entirely transparent.
IMAGE DESCRIPTION: Three pieces hang on a white wall arranged in an arc. They are hung in unequal distances to one another. These pieces also contain objects inside the suspension of translucent, yellow-tinted hardened gelatin. From left to right, there is a round piece with a loris alcohol swab, flowers, pharmaceutical pills and metal hardware. In the middle, hanging slightly higher than the other two is another round piece of hardened gelatin with a large aster flower and 6 metal screws arranged in a circle around it. On the right is an oval, almost pill-shaped piece that is slightly darker in colour, containing two metal screws on either side of a syringe placed in the middle of the piece, as well as white, yellow, and brown pharmaceutical pills.IMAGE DESCRIPTION: A round piece of transparent hardened gelatin with objects inside of it in front of a white background. The piece contains a paper package labeled with blue lettering that reads “Loris antiseptic isopropyl alcohol pad”, a violet and several more flowers, pharmaceutical pills, a metal screw and a piece of a silver chain.IMAGE DESCRIPTION: A round piece of transparent hardened gelatin with objects inside of it in front of a white background. The piece contains a discoloured aster flower and 6 metal screws arranged in a circle around it.IMAGE DESCRIPTION: An oval piece of transparent hardened gelatin with objects inside of it in front of a white background. It contains two metal screws on either side of a syringe placed in the middle of the piece, some small pieces of botanicals, as well as white, yellow, and brown pharmaceutical pills that have coloured certain parts of the gelatin a darker orange and a deep brown. The pill-shaped piece is tilted downwards from left to right, the syringe’s needle pointing to the top left corner of the image. IMAGE DESCRIPTION: A white rectangular plinth, not quite a meter high, stands in the corner of a room. The plinth displays a semi-transparent sculpture that has a curved rectangular shape, like a small box. At the center of the box its colour is a solid light orange, its edges are transparent and the bottom of the box is decorated with tapioca pearls. Another oval-shaped semi-transparent piece hangs on the right wall above the plinth. It has a white ceramic rim that slightly protrudes outward from its inside. The center oval is of a darker brown, the outer oval is transparent with flowers and pharmaceutical pills visible inside of it. The image is bordered on both sides by the architecture of the room. The plinth stands in the corner of two perpendicular walls, to each side of it there is a brown lacquered wooden door. Both doors are slightly elevated, each with two brown steps leading up to them. The left door has frosted glass window inserts. The right door has small leaded glass window inserts on the top. The floor of the room is grey linoleum.IMAGE DESCRIPTION: An oval-shaped semi-transparent piece on a white background. It has a white ceramic form encased inside the gelatin, the rim of which slightly protrudes outward. The center oval, framed by this ceramic rim, is of a darker brown. Four screws are arranged with their tips pointing towards each other in a cross shape. In the middle of the cross there are two white pharmaceutical pills, labelled “NT 10mg 709” in small black letters. There is a screw on either side of the two pills, as well as flowers and other pills. Separated by the ceramic rim, the outer oval of the piece is transparent, with slightly curled edges and with flowers, tapioca pearls and black pharmaceutical pills visible inside of it. Two long nails form a cross on its top.IMAGE DESCRIPTION: A jewelry-box-shaped, semi-transparent gelatin sculpture stands on a white rectangular plinth in the corner between two white walls. The piece’s shape is rectangular, with each of its sides curving inwards, towards the box’s center. The concave shape of its sides causes the sculpture to have slightly tapered feet. Inside of the yellow-tinted transparent gelatin there are tapioca pearls arranged in lines that cross over in the center, as well as metal screws and flower buds.
IMAGE DESCRIPTION: An image taken from a slightly overhead position of a jewelry-box-shaped, semi-transparent gelatin sculpture standing on a white rectangular plinth. The piece’s shape is rectangular, with each of its sides curving inwards, towards the box’s center. The concave shape of its sides causes the sculpture to have slightly tapered feet. Inside of the yellow-tinted transparent gelatin there are tapioca pearls arranged in lines that cross over in the center, as well as metal screws and flower buds, pharmaceutical pills and a medical syringe that is suspended in the center of the object with a black rubber circle placed on top of either end of the syringe.
Sharona Franklin (b. 1987) is a Canadian multidisciplinary disabled artist, writer, designer, consultant and advocate. Her work explores radical therapies, cybernetic craft, bio-ritualism, ecology, pharmacology, and social interdependence. Franklin’s practice coalesces discourses of disability, gender, class, and bio-citizenship. Franklin’s visual media practice is archived through social media platforms @paid.technologies, @star_seeded, @hot.crip, and @disabled_personals. Recent exhibitions and projects include a city-wide public art project with the City of Vancouver; Remai Modern, Saskatoon (CA); King’s Leap, New York, NY, an online solo exhibition with Printed Matter / St. Marks, New York; the Audain Gallery of Simon Fraser University, Vancouver; La Casa Encendida, Madrid; New Image Art Gallery, Los Angeles, CA, and Flux Factory, New York, NY. Franklin will have her first institutional solo-exhibition at MIT List Visual Arts Center, Cambridge, Massachusetts in February 2022.
Recent publications include Injustice in Biopharm, 2019, Cassandra Press and Rental Bod, 2016, Peace Library Publications.
