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Accessibility is absolutely central to Courtney’s artworks.

First off, they’re made of clay, a timeless, universal material with a long, built-in history of familiar human connections.

The morning sun pours through windows while a white cat (“Bobby”) spies from the top of the stairs (there are, in all, three cats living here, it turns out).

Meanwhile, one of Courtney’s three-headed camels peers out the window; there’s construction going on down the block.

Fashioned with purpose and imagination, they have accumulated in our living spaces around needs of food and shelter, desire and memory.

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Matt Nordgren tells her, “I think you’re the mayor of Dallas now.” I would like to see Courtney handle the public-comments part of a Dallas City Council meeting. “Which, I’m single now,” Matt Nordgren adds, in case there was any confusion. As far as you or I or anyone else knows at this point, they could be cancerous. When someone points out that interns sometimes work for free, Courtney says, “Then you have to go through all their school. The show opens with a brunch at Courtney’s friend’s house. But don’t look in the bathroom, because there’s a crazy message written in lipstick on the mirror. An important part of his art practice is about maintaining that innocence, a sense of wonder and play while making art, even after years of formal education, teaching, and residencies abroad.One technique is to use molds — industrial molds, molds he makes of everyday objects, molds he makes of his own pieces — to create multiple parts which are then assembled in seemingly random ways.

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