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How do you capture the inner life of a person whose reality no longer aligns with the outer world? And how do you remain in relation to someone who is both intimately familiar and irreversibly changing?
Katherine Hubbard began her five-year project The Great Room in 2020, at the onset of the Covid-19 pandemic, when her mother, Antonette Berger, became increasingly unwell and the artist became her primary caretaker. It took several months in a time of anxiety and isolation until Berger was diagnosed with LATE (limbic-predominant age-related TDP-43 encephalopathy), a form of dementia. Hubbard has described this diagnosis as both necessary and insufficient: a gesture towards control and classification that ultimately fails to grasp the lived, shifting reality of her mother’s condition. It is precisely this gap that the project inhabits.
At its centre is Berger’s first-floor apartment in a Victorian house she owned for over forty years, which becomes the stage for an evolving series of…
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Press Release
How do you capture the inner life of a person whose reality no longer aligns with the outer world? And how do you remain in relation to someone who is both intimately familiar and irreversibly changing?
Katherine Hubbard began her five-year project The Great Room in 2020, at the onset of the Covid-19 pandemic, when her mother, Antonette Berger, became increasingly unwell and the artist became her primary caretaker. It took several months in a time of anxiety and isolation until Berger was diagnosed with LATE (limbic-predominant age-related TDP-43 encephalopathy), a form of dementia. Hubbard has described this diagnosis as both necessary and insufficient: a gesture towards control and classification that ultimately fails to grasp the lived, shifting reality of her mother’s condition. It is precisely this gap that the project inhabits.
At its centre is Berger’s first-floor apartment in a Victorian house she owned for over forty years, which becomes the stage for an evolving series of…




























