Beitz is best known for his large-scale sculptural work that confuses the line between functional furniture and sculpture. The focus of Guaranteed Painkiller is Beitz’s lesser-known, drawing-based work, an essential part of his creative practice that is rarely publicly shown. The artist considers the images in his drawings as seamlessly connected to the sculptural part of his practice; much of the imagery in Beitz’s drawing is directly connected to his sculptural work. He explains, “it doesn’t matter to me whether it is an object, or a drawn design for a future project, to me it’s all the same, it’s all about how it feels.”
The Debris Fields is a series of abstract paintings, drawings and photographs by Rebecca Allan that examine the sprawling detritus at the edges of urban, suburban, and rural America. Inspired by Charles Burchfield’s images of decaying infrastructure, among other sources, Allan focuses on the dispersed heaps of material at construction sites and mining sites, in orchards and gardens, and along waterways. From her studio overlooking the Harlem River in The Bronx to her hometown of Buffalo, Allan probes the spaces around us that could be permanently despoiled or restored by our own efforts, in concert with the persistent rejuvenation of nature.
Deviating Lines explores the gesture of the line in Pam Glick’s most recent geometric abstractions, painted and drawn on canvas and cardboard and Lyn Carter’s fabric-based sculptural works. In both Carter and Glick’s included work, the line is the protagonist. Glick’s gestural paintings on canvas explore the expressive potential of the line, while her works on cardboard exploit the found geometry inherent in the medium itself. Carter’s line is one step removed from her direct hand, as she prints custom fabric from her ink and charcoal drawings and then gives the fabric form through her sculptural practice. Though abstractions, these lines are in no way arbitrary.