An exhibition of works on paper by Fiona Banner, Pedro Cabrita Reis, Ernst Caramelle, Zipora Fried, Joe Fyfe, Daniel Hesidence, Olav Christopher Jenssen, Judy Ledgerwood, Wes Mills, Matt Mullican, Anne-Marie Schneider, and Ouattara Watts. What these artists have in common is an uninhibited, creative liberty in their approach to paper, allowing each of them to define and imprint their unique traces upon a singular medium
Tracy Williams, Ltd. is pleased to present ''Traces Everywhere,'' an exhibition of works on paper by Fiona Banner, Pedro Cabrita Reis, Ernst Caramelle, Zipora Fried, Joe Fyfe, Daniel Hesidence, Olav Christopher Jenssen, Judy Ledgerwood, Wes Mills, Matt Mullican, Anne-Marie Schneider, and Ouattara Watts. Linked only by the medium upon which they work, each of these twelve artists approaches paperâ€”its form, its properties, and its possibilitiesâ€”in his/her own, distinctive way. The artists employ a range of means and methods to express their unique voices, some of which include saturating the paper with dense washes of paint, quietly lacing it with fine graphite, branding its surface with the sun's heat, or physically breaking it down and reconstructing it to the core. Ultimately, what these artists have in common is an uninhibited, creative liberty in their approach to paper, allowing each of them to define and imprint their unique traces upon a singular medium.
Fiona Banner's dense, text-based work explores language and its ability to shape our perceptions of the world based on its form and context. Transforming narrative into aesthetic composition, Banner confronts and dissects issues such as war and sexualityâ€”often in tandemâ€”as they are portrayed in media and film.
Pedro Cabrita Reis' loose, organic works on paper evoke the poetry of nature and the splendor of simple form. Deliciously saturated with color, his works embody life, the city, and all of its subtleties in a manner resembling eloquent prose.
Ernst Caramelle's sun-bleached surfaces and clean, geometric compositions elicit a consideration of process and time. Constructing visible images from the invisible accumulation of light on paper, Caramelle's paired-down forms raise complex questions about existence and its relation to the material.
Zipora Fried's dense graphite drawings are the result of a slow, laborious accumulation of lines filling a vast picture plane. Her meticulous pieces embody ''timescapes'' that not only inspire aesthetic contemplation of an image, but also index the evolution of the artist's arduous process over time.
Joe Fyfe reconsiders the physicality of paper through a manual reconstruction of its elements. Through the process of collage with a range of handcrafted materials, Fyfe amalgamates the materiality of the paper with the picture plane, resulting in rich, engaging and highly tactile compositions.
Daniel Hesidence's visceral drawings evoke both the corporeal, human form as well as the greater, cosmic universe. Grotesque and beautiful, his masses of abstract, bodily structures flow in and out of a continuum that has the power to lure us in and, conversely, push us away.
Olav Christopher Jenssen composes lyrical drawings that possess subtle, compositional tensions and elaborate webs of form. Defying common categorization, Jenssen's works on paper are defined by the artist's rhythmic gestures, delicate linearity, and brilliant airiness.
Judy Ledgerwood enchants us with her luminous washes, intricate patterns, and satiating compositions. Ledgerwood reinstates modernism through a fresh lens, abstracting beauty from environmental, architectural and decorative cues. Her vibrant works on paper evoke moments and sensations that we know so well, yet could not otherwise articulate.
Wes Mills reinstates the medium of drawing through his muted yet potent minimalist renderings. Mills' graceful abstractions expose the vast possibilities of the singular line as an evocative statement in its own right.
Matt Mullican explores the human condition through the eyes of various ''others''â€”in this case, a stick figure named Glen. Through Mullican's investigation of the life and death cycles of comic book characters and drawn figures, whose universe exists only in the ideas we project onto the paper they inhabit, we gain insight into our own universe and the way we make sense of it.
Anne-Marie Schneider's raw, diaristic drawings not only express the artist's personal thoughts, but also serve as an unmediated thought process in themselves. Schneider utilizes a variety of media on paper to wrestle with the realities of daily life. Lying somewhere between figuration and abstraction, her cartoon-like renderings are both subtle and alarmingly poignant.
Ouattara Watts extracts symbols and forms from all aspects of his layered identityâ€”from his multinational heritage to his daily life in New Yorkâ€”and fuses them into a higher, spiritual domain. Charged with energy, Watts' vibrant, imaginative works speak in a universally relevant language.
Tracy Williams Ltd
313 bis West 4 Street New York 10014