The size of a credit card


April 1 – April 30 2022

Andrew Buszchak, Michelle Cieloszczyk, Nathan Eugene Carson, Yan Wen Chang, Brendan Flanagan, Jenine Marsh, Ping, Craig Spence, Sean Weisgerber

Curated by Daniel Griffin Hunt

Video documentation by Miles Rufelds can be seen here.














A credit card represents many things; a human, a company, a system of fiat currency, capital, a site of neo-colonialism. Algorithms used internally at credit card companies to protect, secure and track data are so exact, they can predict a divorce with a 90% accuracy, two years in advance. The weight of a credit card is the approximate weight of plastic consumed into the human body on a weekly basis. The size of a credit card  explores the disproportionate implications this small piece of plastic has on the human body and the systems of transaction, consumption, absorption and dissemination that circulate around it.

Photo documentation courtesy of LFdocumentation.






Sean Weisgerber, Wall Drawing #2  (detail), 2022, 2H pencil and fluorescent red price stickers on gallery wall, dimensions variable




Andrew Buszchak, Night Shift #3, 2021, welded steel, patina, wax, 7” x 14” x 5 1/2”










Yan Wen Chang, Untitled, 2022, blue and red gouache on wall, dimensions variable



Michelle Cieloszczyk, shit bag, 2017, resin and pigment, 12" x 11" x 8 1/2" 





Nathan Eugene Carson, Blue Bull, 2022, mixed media, 24” x 20”


Andrew Buszchak, Void Boss, 2016, welded steel, 3” x 12” x 12”





Yan Wen Chang, Black leather seat Marcel Breuer Model B3 Wassily Chair replica chair stolen from ex-boyfriend in 2018, 28” x 30” x 28”


Yan Wen Chang, Marcel Breuer Model B3 Wassily Chair replica steel chrome frame purchased on Kijiji in 2018 for $99 CAN, electroplated with 24 Karat Gold in 2022. Seat hand-stitched with a black cotton embroidery thread, cut-up pieces of paintings made by Chang from 2017 to 2022 entitled as follows - “Portrait of Self in Passenger Seat No. 1”, oil on canvas (2022), “Big Dreams”, gouache on denim (2020), “Take Away My Pain, I Regret I Told Mama Life Would Change”, mixed media on canvas (2018), “Home, Exile, and Return”, mixed media on canvas (2018), “You Can’t Play God Without Being Acquainted With The Devil”, mixed media on canvas (2017), can be soaked in Mobil 0W-40 Full Synthetic Engine Oil made for European Cars TM, 28” x 30” x 28”



Yan Wen Chang, 2019-2022, white rose originally purchased at RabbaTM grocery and convenience store in ¥anne$$ey bottle made by Chang’s ex-best friend in 2019, filled with Mobil 0W-40 Full Synthetic Engine Oil made for European CarsTM



Nathan Eugene Carson, Brown bear mural, 2022, appx. 12’ x 8’







Nathan Eugene Carson, Black Banker, 2022, mixed media, 24” x 20”




Michelle Cieloszczyk , Shit Bag, 2016, bronze, black and liver of sulfur patina, 12" x 11" x 8 1/2"


Craig Spence, ATM, 2022, mild steel, LED lights



Craig Spence, YES, 2022, mild steel, LED lights





Jenine Marsh, XX (1), 2018-2022, train-pressed mixed-currency coins, wire, solder, 8” x 12” x 2”

Jenine Marsh, XX (2), 2018-2022, train-pressed mixed-currency coins, wire, solder, 8” x 12” x 2”




Brendan Flanagan, Janus Faced Coin, 2022, hydrocal, oil and photograph, 16” x 20” on variable photo







Brendan Flanagan, Apotheosis of the Arts, 2022, hydrocal, oil and photograph, 16” x 20” on variable photo 






PING, THE SIZE OF A CREDIT CARD, A1 print







Brendan Flanagan, Persimmons, 2022, hydrocal, oil and photograph, 16” x 20”





Brendan Flanagan, Pear with Grapes, 2022 hydrocal, oil and photograph, 16” x 20” on variable photo



Jenine Marsh, Inheritance, 2022, displaced, out-of-circulation and train-pressed mixed-currency coins, second-hand purses, found cardboard boxes, sand mix concrete, polyurethane, flowers, wire, synthetic rubber, staples, hot glue, tape, ram board









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