Dressing for Windows/Dressing for Altitude/Dressing for Pleasure (2022), part of Elaine Cameron-Weir’s current exhibition at Hannah Hoffman in Los Angeles, is a simple arrangement of found objects hooked up to a rig of chains, cables, and pulleys. A bronze statue of the Virgin Mary and a fighter-jet seat bereft of cushions or seatbelts anchor a contraption that hoists a strip of metal mesh. There, a leather jacket, like Christ on the cross, hangs front and center. All of this is within Cameron-Weir’s established vocabulary—militaria, dangling garments, old and new metal, things bound and suspended—and appears both clinical and operatic. Is this contrivance of tethers and equipment a mere stage for the trio of symbolically loaded items (jacket, ejector seat, Virgin), or should it be taken for a system of some sort? The sculpture’s effect depends on such tensions: between stasis and movement, heft and lift, generic and specific, and, above all, materials as such and their connotations.

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