Materials + Process

Lynn Beldner, Samantha Fields, David Fought, Cynthia Ona Innis, Amanda Marchand
October 14 – December 22, 2012

Traywick Contemporary is pleased to announce Materials + Process, the fourth in our 15th Anniversary exhibition series that focuses on different aspects of our program, its history, and a glimpse of what lies ahead.

Materials + Process features work by Lynn Beldner (Oakland), Samantha Fields (Los Angeles), David Fought (San Francisco), Amanda Marchand (New York) and Cynthia Ona Innis (Berkeley), and will explore the use of nontraditional materials and unconventional processes, both of which are central to the practices of many of the artists in our program.

Using a vocabulary of shapes and symbols, Lynn Beldner creates tactile objects that hint at intimate moments. Excavating and organizing personal histories, her wall installations are specimen-like collections of biographical ephemera. Simple gestures and modest materials lend these visual journals a quiet fragility as they explore the unexpected intersections of the private and the public.

David Fought’s sculptures are formal explorations of negative and positive space. Wire is burned, cooled and bent into various shapes, providing a physical framework that references the elemental lines of a drawing. Plaster fills negative spaces, simultaneously emphasizing mass and planar two-dimensionality.

For her Night Garden series, Amanda Marchand experiments with different tools and methods to respond to the challenge of photographing in darkness. Using a wide variety of lighting conditions, exposure times ranging from a few seconds to several hours, and an array of cameras from digital to pinhole, the artist leaves the project open to intuition as she captures fleeting moments in time.

Samantha Fields’ paintings are based on images from the artist’s own archive of “failed” photographs, giving new meaning to moments that may have been inadequately captured. By using an airbrush to apply hundreds of thinly misted layers of acrylic paint to canvas, she conceals traces of her hand in the work while also embracing the (in)accuracy of the photographic medium.

Through drawing, painting and collage on fabric, canvas and paper, Cynthia Ona Innis investigates forms — natural and human — as they transform and change. Her physical manipulation of materials, combined with images of surging biomorphic abstractions, mirrors the fluid transitions found in nature.

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