OCHI is pleased to present Into the Weeds, an exhibition of new work by Idaho and Los Angeles-based artist Devin Farrand. The exhibition marks the culmination of Farrand’s residency with The Community Library at the historic Ernest and Mary Hemingway House and Preserve in August 2025 and represents a unique artist intervention at the National Register of Historic Places property. Into the Weeds will be on view at OCHI, 119 Lewis Street in Ketchum, Idaho, from August 21 through October 10, 2026, following the presentation of the work throughout Hemingway’s historic residence.

Purchased by Ernest Hemingway in 1959, the mid-century modern house overlooking the Big Wood River has long served as a place of creative production.Since the Library became the owner of the property, the site has become home to a distinguished writer-in-residence program, extending the site’s legacy as a space where art and place remain deeply intertwined. Responding to both the house and its surrounding 13.9-acre preserve, Farrand created a body of work that enters into direct dialogue with the landscape, architecture, and literary history of the site.

Farrand divides his time between a cabin in Idaho’s Pioneer Mountains and a warehouse studio in Los Angeles. The Hemingway House offered an unusually charged site for integrating these disparate locations. During his residency, Farrand challenged himself to capture the place he was immersed in through the fewest possible gestures of color and mark. The resulting watercolors appear framed in stained maple and anodized aluminum—quiet, observational, and scaled to the hand.

Returning to Los Angeles, Farrand expanded these observations into sculpture. Drawing particularly from the opening and closing passages of Hemingway’s Across the River and Into the Trees, the works translate and materialize Hemingway’s language. A field of anodized aluminum rods rises from the ground in tall, grass-like forms that flicker and shift, referencing the fog-bound duck-hunting sequence in the novel. A low-lying, bench-like sculpture in extruded aluminum and plated steel stretches across the site, its stacked surface evoking a horizon line, constant and always retreating.

Across watercolor, ceramic, metal, and marble, Into the Weeds proposes translation as its central gesture. Hemingway compressed experience into language; Farrand translates it into material. In doing so, the exhibition offers a quiet meditation on observation, restraint, and the enduring relationship between landscape, memory, and making.