Excerpt from interview with curator, Blair Murphy:

The desire to destroy boundaries, to merge with our surroundings, permeates Chajana denHarder's more recent work. It is appropriate, then, that her process draws on multiple mediums, blending performance, photography and sculpture.  The work begins as a performance, as the artist documents her body interacting with a particular physical space. The photographs are then digitally manipulated to create images the artist terms 'photographic sculptures'. Post-manipulation, the images show denHarder's body merging with the environment. Certain body parts form patterns and shapes, others fade from view completely. For Oneness, Shock and Return, her upcoming exhibition at the Washington Project for the Art's headquarters, the artist spent a month creating images from her interaction with  the WPA space. The show features a collection of these images, along with a human-size bread sculpture meant to represent the artist. Opening attendees will be invited to consume the bread sculpture, another aspect of the show that testifies to denHarder's desire for merger, however symbolic and fleeting.

The work itself defies easy categorization, involving performances that occur without an audience, photographs that depict imagined sculptures and finally, the metaphoric consumption of the artist herself. The final images are a documentation of denHarder's stated desire to merge with her surroundings, just as the ritualistic consumption of the bread invites onlookers to merge with the artist. At the same time, the work ultimately testifies to the stubborn persistence of boundaries, our inability to be at one with either our surroundings or one another in anything but the most fleeting and symbolic of ways.