Urns for the Living takes the vessel, already central in Casey’s recent work, and pushes it into an even more symbolic register. The stacked green forms teeter precariously, counterbalanced by a more stable yellow-and-brown urn, as if testing how far containment can stretch before collapsing. The title itself suggests a paradox: urns are traditionally tied to death, yet here they’re recast as containers for vitality and continuation, amplifying the show’s interest in birth, generational ties, and the ways form can stand in for life itself.

The composition plays with impossibility in a way that only painting can: the stacked orbs defy gravity, yet we accept them within this dreamlike stage. This suspension of disbelief situates the work in dialogue with Giorgio de Chirico’s metaphysical interiors and with Surrealist explorations of everyday objects made uncanny. Casey’s urns are not just vessels but psychological doubles, metaphors for bodies, memory, and spirit.