Happy Sad introduces a new body of work featuring an experimental kinetic installation, video performances, concrete balloon sculptures, and hard-edged geometric abstract paintings — all works developed during their winter  residency at the firehouse starting the day after the election.This series investigates American privilege in times of war and the rise of fascism by leaning into absurdity and repetition. Utilizing Mylar happy-face balloon iconography and repeated acts of indulgence, the works reflect the tension between American privilege and the devastations of war.