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A photographic diptych and video loop documenting the transformation of the floor and wall in my Detroit studio to resemble a section of Fred Torres Gallery in New York, in advance of my exhibition at the same gallery, The Nearest Distance, in October 2014.

In his essay, "Overlook," Peter Finnemore writes: "The sequence of video stills reveals the process of recreating in her studio an accurate approximation of the particular gallery space she has photographed. In doing so, Greig draws attention to the language of exhibition display, and the processes that recur naturally when preparing gallery walls for exhibition. The video reveals painterly gestures as subtle overlays of white tones suggest spatial depth, and uneven sections of the wall patched with plaster filler evoke the textures of oil or acrylic paintings. When the wall is sanded, primed and finished, the illusion of a flat, expansive, pristine surface transpires. The wall becomes as pleasurable and satisfying to look at as the art that hangs on it. These images draw attention to the grammar and values of modernism, and question the boundaries and overlaps between art and environment, where does art begin or end? Here, Greig reveals that it begins and ends in awareness and in its making."