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In Emmanuel Louisnord Desir’s Ashes of Zion, painting and sculpture employ a skeuomorphic glitching of material to address biblical stories and collective histories. The work is remarkably attuned to the American vernacular, but the energy of it builds out of the artist’s ability to produce softness in the material resistance of wood. Desir gives us an allegorical metanarrative that begins with the garden and ends with the fall of Babylon.