Devon Watson was born in Youngstown, Ohio in 1987; a city — similar to other mid-western towns like Detroit or Flint, Michigan — which suffered an economic collapse and loss of infrastructure in the last half of the 20th century. Youngstown was once the world’s largest producer of steel; the industry has now departed from the area, leaving hundreds of miles of abandoned factories and economically devastated neighborhoods.

Devon Watson grew up in a landscape she describes as the "physical embodiment of industrial collapse." Her work largely addresses what she calls Post-American society — the state that exists in the vacuum of old Western ideologies, revolving around the defunct machine of industrial capitalism, and the new Atmosphere Culture that exists most concretely in digital platforms, disseminated through the holy orbs created by our cell phone, tablet, and laptop screens. She believes in the wake of the loss of our ontologies, we now rely on the reflective act of the screen to inform and ratify the act of our being. This creates a hollow relationship, devoid of internal content.

Devon's work often emphasizes the place of reverence that commercial companies’ logos or mascots have come to hold: we sometimes seek solace from the Starbucks Siren or the Ronald McDonald, or the paint-can-that-covers-the-world. In all this light, we misremember our sacredities, but cannot forget the scores of reverberating sorrows. Post-American culture is bannered by many empty symbols, like the signs left on roadsides for buildings and businesses that are no longer there.