Cheremoya

Cheremoya’s presentation for NADA Miami 2025 draws its conceptual and atmospheric voltage from Anna Kavan’s 1967 novel Ice—a feminist landmark that deliquesces geopolitical, environmental, and narratological precarity into a single hallucinatory continuum. Within this register, Ursula Bradley’s restive renderings of consumer space, Madeleine Ray Hines’s hyper-articulated commodity surfaces, and Kento Saisho’s numinous spatial architectures collectively delineate a terrain far closer to Kavan’s cold-war climatologies than to Miami’s entrenched tropes/tropics of heterotopic escape.