The Daily Edit – Virginia Hanusik talks about rendering hidden labor

Property Study #2, St. Bernard Parish (2026) Sand Pipeline, Trinity Island (2022) Raised House, Delacroix (2023) Marsh Cows, Venice (2022) Heidi: Your father was a welder and sheet-metal worker, and your mother was an electrician. How did growing up around people who worked with their hands influence your interest in architecture and photography? Virginia: I have a lot of respect for the invisible labor that goes into architecture and am from a family that takes great pride in skill and craftsmanship, particularly as it relates to objects that exist in the world. Architecture is a discipline that often platforms a singular visionary, but I’m interested in the various groups of people that enable the idea to manifest into physical form. The building trades are a large part of that and it’s important to me as an artist to render this hidden labor visible. Your recent New York Times feature presents your ‘Property Studies’ project as a grid of images showing a house raised on stilts. Can…