Traywick Contemporary is pleased to announce New Abstraction, an exhibition exploring the varied approaches of four artists in creating non-figurative work. For some of these artists abstraction is a means by which to translate observed reality, while for others it is a pure investigation of the formal aspects of art. Ranging from distinct lines and sharp forms to more organic visual effects, these artists use sculpture, painting, and mark making to create work in which color, texture, surface, line, and form are the primary subjects.
Linn Meyers’ undulating waves and pulsating patterns, comprised of individually-drawn lines, amplify the artist’s own singular gestures. Each subsequent line echoes the subtle imperfections of the last, creating a visual document of Meyers’ artistic practice over the course of time. Neither a reference to nor a translation of imagery drawn from the natural world, Meyers’ non-figurative work depicts the artist’s own internal experiences.
Jessica Snow uses a visual vocabulary of symbols to compose rhythmic abstractions. The artist arranges elemental forms including circles, lines, and triangles, or more fluid shapes resembling punctuation marks such as commas, apostrophes, or thought bubbles, to form interrelated combinations; a process the artist likens to playing with language or composing a song. Similarly Snow builds up layers of paint to erase any evidence of her brushstrokes, creating paintings and works on paper that are at once systematic and spontaneous.
David Fought’s sculpture thoughtfully explores both the limits and possibilities of object making combined with drawing. Wire is burned, cooled and bent into various shapes, providing a physical framework that references the elemental lines of a drawing. Delicate layers of plaster fill negative spaces, simultaneously emphasizing mass and planar two- dimensionality. Using the form of the Mobius, Fought examines the tension between surface and void, stating, “the Mobius has only one side, and to see this side means following the surface around and back to the beginning.”
Danielle Lawrence blurs the lines between the two- and three-dimensional, abstracting the boundaries of painting and sculpture. The artist pours brightly colored enamel paint onto a flat surface, creating a record of her process that she then removes and drapes over freestanding and wall-mounted pedestals. Found items from the artist’s studio such as plastic bags, styrofoam, and bubble wrap add unexpected texture. By transforming paint into a sculptural entity that extends beyond its physical supports, Lawrence examines the notion of the frame as a structure and explores what can exist within and outside of it.