It is often in moments of transition, before equilibrium has been reached, that meaning is most discernable. The unfinished, incomplete, and in-between, where the act of creating is brought to a standstill or moves at a crawl, provide space in which to question our current situation. Ahna Adair employs subtle gestures in order to subvert our relationships with the materials that comprise a culture based on immediacy. In this way, embracing the unnecessary and inconvenient ceases to be inefficient and becomes a way of valuing experience beyond a means to an end. By turning a blind side to a singular and final result, her work lingers in process and duration, as she makes something out of nothing and back again.

Trained in jewelry and metal work, her practice is invested in the social role of objects and object making. Adair often utilizes found and discarded materials in combination with precious metals such as silver, in order to re-value the over-looked. Currently, she is exploring modern temporalities, the pace of craft, and the politics of slowness. Using the unfinished project as a possible rupture in existing ideas of progress and achievement within the current technological climate, Adair advocates for thoughtful and prolonged engagement within the everyday.