Allison Buenger

Photo credit: Caroline Kraus
Photo credit: Caroline Kraus


ironing board, porcelain, electrical cord, sheets, thread, and paint

7.5’ x 9’ x 2’




By utilizing various materials along with found elements in her work, Allison Buenger examines the relationship between occupier and space. By examining these interactions, minutia can shine light on larger attitudes within society.

Allison Buenger graduated from Ohio State University in 2009. She attained a Bachelor of Fine Arts degree with a concentration in ceramics. She continues to create both two- and three-dimensional work in a variety of mediums. Originally from Hartville in northeastern Ohio, she cannot remember a time she did not seek out art experiences. She worked for nearly five years as an art facilitator and administrator at Open Door Art Studio following the completion of her BFA. She now works at the Wexner Center for the Arts. She is a member of CAW, The Ohio Art League and Roy G Biv.




The history of the Frauenkirche in Dresden, Germany has been the subject of personal ruminations for a number of years, and provided the framework around which this piece was completed. The cathedral was decimated in the bombing of Dresden and remained as rubble throughout the remainder of the 20th century. It was one of the only memorials to this complicated history, informal or otherwise, that existed within this city. Its restoration was completed around 2000 and was open in time for the 800th anniversary of the city. I was there for the anniversary year and went to a service at the church. It seemed shockingly new inside, all shiny wood and bright lights. The aspect of the restoration that struck me most was the reuse of original stones in the restoration. These nearly 4,000 stones were darker than the rest of the building, but time and pollution will patina the newer stones. At some point in the future, it will be impossible for a visitor to discern the difference. Is this an apt metaphor for the healing power of time, or is it an ominous reminder of how easy it is to forget?

In this vignette the viewer is implicated in a domestic scene where they could iron out the wrinkles of at the base of the cathedral. This narrative is complicated by the bricks hanging down from above, referencing their time spent in a heap in the center of the city. The illusion of depth is further contradicted by the grid of stones, indicating more a façade than a rendering of a building.