December 12, 2014 – February 14, 2015
We created and mounted inkjet wallpaper for this exhibition.
Number Cruncher identifies the handloom as a simple technology that is able to process repetitive numerical data into visually patterned information. The graphics and textures of the loom-generated, hand-woven textile supports, direct the painted surfaces often negating the materiality of the textile and highlighting the patterned surface. In other works, selectively painted areas visually merge with their underlying textile support. This transference of data into a visual language is thus a procedural gesture recalling early and basic computing.
Optically frenetic wallpaper—digitally printed low-res Photoshop files originating from the pixel interlacements in Bittman’s textiles—is installed behind the paintings, some of which correspondingly camouflage into the wall, seemingly absorbed into the environment. Other paintings are hung boldly in contrast to it.
September 19 – November 8, 2014
Creating loom-woven textiles with painted surfaces, Samantha Bittman simultaneously camouflages her patterns as she highlights their structure with thick acrylic—often revealing new patterns through the semi-masked surface. Referencing the dazzle camouflage technique used on World War I naval ships, the exhibition incorporates bold patterns to confuse, not conceal, throwing texture to the viewer as a distraction from the underlying patterns in the woven surface below.
Adding another layer to her paintings, the artist has installed a site-specific wallpaper that draws attention to itself while dually matching and contrasting the patterns found in the paintings—interlocking the works’ patterns while simultaneously disrupting the synchronicity. Bold prints overlap the corners of the gallery, distorting the viewer’s perception of space and erasing any traditional relationship with the space’s architecture. By flattening the three-dimensional surface through the wallpaper’s bold two-dimensional designs, the artist creates a space that inundates the viewer and renders it difficult to make immediate and precise visual estimations. Crafted entirely from the artist’s previously woven patterns, the wallpaper holds a different relationship to each painting, with some works blending in and others contrasting with their background. Another painting exists in a liminal space, half-concealed within the installed environment, neither fully contrasting or conforming.
September 4 – October 18, 2014
We printed the works for this exhibition.
Yancey Richardson is pleased to announce Yours, more pretty, an exhibition of new photographs by Laura Letinsky, presented in conjunction with the release of the artistʼs fourth monograph, Ill Form & Void Full (Radius Books). The exhibition includes the most recent works from Letinskyʼs on-going series, Ill Form & Void Full, which reflects on temporality and desire in the still-life genre, the self-referentiality of the photographic medium and the mutability of perception. Letinskyʼs compositions utilize fragments from her own photographs and those of other artists like Richter or Matisse, as well as advertisements culled from magazines, dissolving the hierarchy between high and low imagery, and the notion of what is real and what is mediated. In addition, by using white as a color, the edges of paper as lines, and shadows as planes, Letinskyʼs compositions conflate flatness and dimensionality, upending the viewerʼs sense of space and perspective.