This installation is part of the artist’s research into how institutions cultivate communities and ultimately adjust a person’s sense of self. The artist compares the Mormon church and art institutions such as large galleries and museums to narrow the scope of this research and present the similarities between them.

 The church is an institution that the artist has had years of experience in and has over recent years begun to recall in greater detail when within the gallery space. To the artist, the gallery holds many similarities to the church in performative qualities such as functions and events but also in daily interactions in each community. Specifically, in ‘Testimonial’ the artist discusses the serious issue of the ‘othering’ of female art/roles.

 Featured in the installation are a number of traditional office items; a table, chair, stationery, plants, and filing cabinet. Positioned within this office is a large sculpture of a wall displaying slightly obscured text on the surface. Placed on the wall is a large, printed copy of the artist’s own patriarchal blessing (a ritual of the Mormon church that involves having an elder give advice to the individual based on the word of the Lord). Leading round into the room there is also a screen placed upon a table. The screen displays an animation of a moving vase and features text taken from the patriarchal blessing that has been altered slightly.

 In finding material Fitch not only looks to past experience but also pulls upon material such as her own Patriarchal Blessing from the church and online conferences that are set up like fairs with every category of the ‘industry/religion’ given its time in the light. Fitch’s works cite writings by Mary Beth Edelson (specifically Male Grazing: An Open Letter to Thomas McEvilley (1989)) and pulls heavy influence from observing the gallery in action.