Elizabeth Leach Gallery is pleased to present our second solo exhibition with Ann Hamilton. Featuring unique paper and cloth prints and collages, this new work is conceived in conjunction with the upcoming release of Hamilton’s publication with Radius Books and shares its title: Sense. On view November 3 - December 30, 2022 with an opening reception 6:00 - 8:00 pm on Thursday, November 3, 2022. At 5:00 pm Hamilton will be speaking with artists Kara Gut and Nick Larsen whose studio assistance and conversation was integral to the development of the book and this exhibition.
While Hamilton is best known for the material surround and tactility of her large, site responsive installations, this recent body of work focuses on the photographic and evolves from processes developed over the last decade working with shallow depth of field flatbed scanners and occluding membranes to image animal specimens, stones, fallen leaves and people. Most notably, in her exhibition, the common sense, at The Henry Art Gallery in Seattle. In describing the work Hamilton has written: “Sense is contact, is the touch of human and non-human animals, is the fold of woven cloth, is words in fragments and in woven lines and like all making comes from acts of attentions, both finding and composing, touching and being touched.”
The shallow focus of the fallen leaves and bird study skins installed in the Front Gallery detail and magnify where skin and leaf make contact with the scanner glass and shadow where they bend and lift away. The simultaneous detail of focus and blur, of proximity and distance creates a felt sense of each specimen as it folds, curls, bends and dries in its individual and unique way. The images, printed on tissue weight Japanese gampi paper, mounted to cloth and suspended from metal rods form a scroll-like landscape and surround, fully filling the gallery walls.
Hamilton’s practice has long explored the relation between text and textile and the interior second gallery exhibits her more intimate collage work and ongoing series pages. In these new diptychs and triptychs the color, opacity and transparency of cloth fragments meets the abstractness of language sifted from loose fragments of sliced books, themselves the residue of another project. Mounted to book endpapers, these singular words and phrases, the textile’s imperfect geometric shapes, and the delicately unraveled threads are simultaneously commonplace and lyric.
