LISA C SOTO

The subject of guns and ammunition often sparks intense reactions in the United States, stirring deep moral convictions and vivid historical associations. Firearms carry with them a powerful cultural weight, from the conquest of Native nations to the horrors of slavery and the Vietnam War; from the rights of hunters to the ongoing tragedy of school shootings that devastate communities across the nation today.

I am drawn to working with bullets because of the layered history they embody. Unlike most of my materials, which lack such immediate historical significance, bullets carry a weight of meaning and consequence that is intrinsic to their form and function. My usual practice allows for freedom in creating new associations and narratives, but upon encountering shell casings scattered at a shooting range, I felt compelled to engage with this charged material. The challenge of transforming these symbols of violence into art intrigued me, and I began to consider the visual and emotional resonance these objects might invoke.

In this piece, my intention is to create an interactive structure that invites the viewer to confront their own interpretation of the object’s power. The installation takes the form of a nine-foot-tall column, wide enough for one person to enter and stand inside. Constructed from two layers of bullet shells strung together, the column forms a wall that is permeable, allowing the viewer to step into its center. The strands, suspended from a motorized framework, gently sway and collide, producing the sound of clinking metal as the individual pieces strike against each other. This subtle, rhythmic motion and sound engage the senses, drawing the viewer into the experience.

This piece evokes an unexpected allure—one that contrasts sharply with the deadly history of the materials it is made from. I am fascinated by the tension between the seductive visual appeal of the installation, which invites physical engagement, and the dark reality these shells symbolize: pain, violence, and death. Through this contrast, I aim to prompt a deeper reflection on how we relate to objects that embody both beauty and terror.