Chase Hall's (b. 1993, St Paul, Minnesota, lives and works in New York and Los Angeles) practice across painting and sculpture activates and disrupts generational traumas encoded in American history. Hall create works based upon my research of the visual systems in which racism lives and how these images and objects have disseminated ideas of blackness. His paintings and sculptures question the incendiary intent of these derogatory objects and images and their continued relevance in the shaping of contemporary America. Making sculptures with objects that are tangible embodiments of past histories, Hall aims to confront social and racial realities by creating unsettling moments through which we re-see and recalibrate how dynamics of race are foundational to America. These dehumanizing narratives and representations are completely false and through the use of assemblage Hall is interested in creating opportunities to unlearn. Hall harnesses the malleability of a non linear history to find place in our past and excavate proof of how racism has come to fruition. Re-contextualizing these tactile embodiments of festered imaginations allows him to question the hybridity of objects and further understand bigotry behind closed doors. The paintings focus on the resilient fortitude of people who have endured under racist structures and convey this spirit through loose and audacious strokes. Hall's palette permits a color sensibility focusing on the histories of landscape and labor. Hall use of raw cotton canvas identifies the nuances of bi-raciality and he allows the cotton itself to embody a white paint. The stains and tonal washes aim to liberate the paintings from a legacy of American portraiture defined by structures of power and exclusion. Hall's practice creates a visual language of strength and empathy in hope of a visual and racial literacy to better understand the painful inheritances of the past and its resonance in present day.