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.
Anna Kaplan Contemporary (formerly BT&C Gallery) announces Urban Passage, a solo exhibition of new work by Susan Reedy. The focus of Urban Passage is Reedy’s mixed media works on canvas that lie at the intersection of painting, drawing, and collage. Reedy’s practice is process oriented, involving many layers of material and visual information. The result is a complex surface with many subtleties that reveals itself over time. Reedy sources collage materials from vintage ephemera— posters, fliers, segments of dictionaries, musical scores, magazines, newspapers— which are then used in combination with acrylic paint and various drawing media. She carefully selects her vintage materials in a process she compares to an “archeological dig” at flea markets, used bookstores, and estate sales and explains, “I have an inherent attraction to the look and feel of source material that has a sense of history to it, particularly things that are perceived as being imperfect. Papers and books that are torn, marked on, held together with string or tape, anything that shows that this object has had a history and a life of its own as it is passed from one hand to another is of interest to me.”