In "Everyone is Someone’s Baby," Megan Solis expands the Glory West universe through an intimate constellation of sculpture, collage, and video. Rather than staging spectacle, the artist turns toward the domestic interior; the bedroom, the phone screen, the shrine, as sites where devotion slowly transforms into erasure.

Miniature tableaux reconstruct a bedroom as reliquary. Framed portraits hover like Catholic saints. A wooden bed becomes an altar. In a companion video, Glory’s husband cowboy Dale kills her horse, Sugar. A symbolic severing of mobility and partnership within the mythology of the American West. Across pulp-paper panels in adolescent ornamentation, Solis embeds fragments of real text message exchanges between ex-lovers. Language appears unfiltered: pleas, silences, blocking, and ghosting. Screenshots are relics. The surfaces oscillate between valentine and wound.

Solis frames these materials not as confession but as archive. For a generation whose intimacies unfold through devices, harm often arrives linguistically, through withdrawal, manipulation, and the quiet violence of being erased. The abuse is not cinematic, it is intermittent, mediated, and haunting. Digital language lingers long after the relationship dissolves.

Glory West, who is admittedly excessive and tragic, embodies this humiliation. Situated within genres of horror and romance that are culturally trivialized, she exposes how longing is misread as weakness and how devotion can be weaponized.

Following the opening reception, the exhibit will be on display through June 13.