The work of Philadelphia artist Christina P. Day is guided by traces of the past that remain within used objects and spaces. Her practice shifts between drawing, building, and “match finding”, a process described by the artist that refers to how repeat patterns literally link into one another, as well as when two objects of the same make are found in different places at different times by chance. She states, “Architectural surfaces hold a kind of ‘charge’. Dents, scars, and physical stains of previous ownership speak to the mirror materials can become over time. Stabilizing things or holding them in place through solid construction in my art practice is a metaphor for remembering, or perhaps more accurately, not-forgetting.”
 

Day employs processes of preservation and restoration to create collaged constructions and architectural installations. The resulting artwork evokes a decorative, yet unsettling tension -- plastic slipcovers preserve textiles that never touch a person’s skin, doorknobs and record players are rendered unusable by a heavy veneer of wallpaper, and linoleum scraps that are layered to create a topography too unstable to walk upon. Somewhere in the liminal space between using things and trying to save them from human service, Day creates work that is both familiar and peculiar at the same time. 

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