Charlottesville is somehow a psychic urtext for both brothers, a platonic ideal of space- every street lined with familiar homes, each tree reminiscient of a time of life now past.

Charlottesville is somehow a psychic urtext for both brothers, a platonic ideal of space- every street lined with familiar homes, each tree reminiscient of a time of life now past. Urban planning practices, especially prominent in a small town with a well-known architecture school, dominate the arbitrary division of space, rendering public space basically unusable or illegal to inhabitants. Through the artistic practice of the brothers, they seek to redefine the boundaries of space in Charlottesville through sentimentality and nostalgia, as their spatial practice here inevitably is filtered through this lens. Every night, as a habit, they walk to a different part of town- maybe their old elementary school, or a pool they swam in as children, the roof of a friend’s high school, a friend’s backyard- and have a drink there, often with friends. They took photos of doing this in the summer of 2010, but their project isn’t primarily photographic in nature: rather, it is a spatial practice documented through photography and other artifacts, such as perhaps a map marked with X’s, each X delineating a time and event attached to a text describing that event. By rejecting a definition of space that uses roads for cars and property boundaries as central, they simply act as if the law (a law which refuses us entry into the spaces of our past, present, and future) did not exist, replacing it with a reclamation of space that encompasses all of the central city. They are, in their own way, just as interested in delineating time and space as the municipal authorities, but in a way more pungent with feeling, that rejects as narrow-minded a conception of space that leaves no room for their experiences, experience that, in the collision of time and space, allows for constant embroidery onto the substance of the past with new feelings in old places.