Sara Eichner

Sara Eichner, 32 Layers, 4 Colors, 2017, Minimalist Abstraction, Ink

2017

Sara Eichner wants to create a space where point of view cannot be fixed. Optical games stand in for her struggle to comprehend the complexities of seeing. Using simple drawing tools...

Sara Eichner wants to create a space where point of view can not be fixed. Optical games stand in for the struggle to comprehend the complexities of seeing. Using simple drawing tools and paper, she engages a systematic process that branches into new forms as they meet if / else junctures in the work. The series grow iteratively, engaging perception as a subject and a means. To begin, she creates a grid of converging lines in perspective to establish a basic unit of pictorial space. That bound unit: lines and perspective; becomes the foundation for building complexity. Variables such as repetition, color, incremental rotation, inversion, concentration and dispersion are applied. Properties of the initial unit are subverted and transformed. Play between solidity and transparency, mass and lightness, concentration and diffusion, slows down perception. A build up of marks aggregates into optical mixtures and resolves into patterns created by processes of rotation and layering. These patterns and binary relationships emerge slowly. The networks of lines converge and disperse creating multiple visual paths through fields of structured accumulation. Her very human hand leaves behind texture that animates the final artifacts of this process. Sara Eichner is a graduate of Kenyon College (BA) and Syracuse University (MFA). She has had solo exhibitions at PPOW and Sears Peyton...

Sara Eichner wants to create a space where point of view can not be fixed. Optical games stand in for the struggle to comprehend the complexities of seeing. Using simple drawing tools and paper, she engages a systematic process that branches into new forms as they meet if / else junctures in the work. The series grow iteratively, engaging perception as a subject and a means. To begin, she creates a grid of converging lines in perspective to establish a basic unit of pictorial space. That bound unit: lines and perspective; becomes the foundation for building complexity. Variables such as repetition, color, incremental rotation, inversion, concentration and dispersion are applied. Properties of the initial unit are subverted and transformed. Play between solidity and transparency, mass and lightness, concentration and diffusion, slows down perception. A build up of marks aggregates into optical mixtures and resolves into patterns created by processes of rotation and layering. These patterns and binary relationships emerge slowly. The networks of lines converge and disperse creating multiple visual paths through fields of structured accumulation. Her very human hand leaves behind texture that animates the final artifacts of this process. Sara Eichner is a graduate of Kenyon College (BA) and Syracuse University (MFA). She has had solo exhibitions at PPOW and Sears Peyton...

Being nearsighted from a young age, Audrey Stone is drawn to seeing things up close; her work entails detail in the making and her desire for visual intimacy. How craft and art are d...

Being nearsighted from a young age, Audrey Stone is drawn to seeing things up close; her work entails detail in the making and her desire for visual intimacy. How craft and art are d...

Ellen Hackl Fagan is an interdisciplinary abstract painter who uses synaesthesia, digital media and interactive performance as tools for developing a corresponding language between c...

CARL ANDRE Untitled Drawing, 1984 Felt tip pen, marker and stamp on Postmarked (franked) card to Lynn Charles Foster 3 3/5 × 6 1/10 inches Hand-signed by artist, Hand signed by Carl ...

Carl Andre Handwritten Letter to the Artist's Parents, 1974 Letter handwritten with black marker on postmarked, stamped postcard (hand signed by Carl Andre) Boldly signed @ - the art...

Ballpoint pen and inkjet on paper. Unframed. Caldicott has always had a habit of working serially; his works on paper are rapidly produced and large in quantity. His drawings have a...

Ballpoint pen and inkjet on paper - Unframed Caldicott has always had a habit of working serially; his works on paper are rapidly produced and large in quantity. His drawings have a...

Ballpoint pen and inkjet on paper. Unframed. Caldicott has always had a habit of working serially; his works on paper are rapidly produced and large in quantity. His drawings have ...

Untitled, 2014 (Id. 383) (Abstract Drawing) Ballpoint pen and inkjet on paper. Unframed. Caldicott has always had a habit of working serially; his works on paper are rapidly produc...