New York sculptor Alix Vernet is the subject of a wide-ranging new interview in which she traces her practice to places that accumulate more than one story. She describes her interest in sites that persist through change: people leave, others move in, and the place continues without them. Her work, she says, tries to stay close enough to observe that persistence over time while keeping enough distance to remain surprised. Titles play a structural role in the work. Vernet says she remembers nearly every address she has lived at, and many of her sculptures are titled after them. The interview reveals that her middle name, Delancey, comes from the street where her mother became pregnant, an instance of the language-site-memory play that recurs through her practice. The artist framed her turn to art as a discovery that making something from experiences that felt unanswerable could itself be a form of consolation. Her Manhattan studio arrived through accident rather than plan. Her partner intended to text a mutual friend but messaged a building superintendent instead, and a Chinatown unit became available. Vernet describes the neighborhood as a site of small miracles: a scrapyard supplies her materials, and a friend who owns a Chinese bakery helps her translate and source parts, in exchange for favors she returns by finding leather goods online. The conversation arrives alongside LANDMARKS, her 2026 exhibition at Chapter NY, for which installation photography accompanies the published interview. The exchange positions Vernet as a sculptor whose practice is grounded in the social and material networks of the city rather than the supply store.