Like the most of Horvitz’s work, Only what we could carry is open-ended, coincidence outweighs intention, the idea of movement and distribution is always present and nature is employed to address political issues and to raise questions about migration, oblivion, and appropriation.
The camellia is shown next to a photograph of the stars by David, shot from the site where his grandmother was detained. For Kyoko (2017) was originally commissioned by the Public Art Fund in New York for Commercial Break, a public exhibition on digital screens all over the city, organized few months after the election of Donald Trump.