Goldfinch is very proud to present An Archive of Touch, a group show of works by Yesenia Bello, Dana DeGiulio, Andreas Fischer, Alejandro Jiménez-Flores, Joyce Lung, SaraNoa Mark, and Kellie Romany. The exhibition will open on Sunday, June 30th with a reception from 3-6pm, and will be on view through Saturday, August 3rd. Gallery hours are Fridays and Saturdays, 12-4pm, and by appointment. Please note: the gallery will be closed over the July 4th weekend.
Its title drawn from an artist’s statement written by Brooklyn-based Dana DeGiulio, An Archive of Touchexpands focus beyond a single medium to feature paintings, drawings, and ceramic sculptures where physical touch interacts with materiality in ways that are both expressive and archival in nature.
Yesenia Bello’s ceramic sculptures demonstrate the artist’s ongoing pursuit of thinking with the hands. Each of her forms is ‘caught’ at different moments of compression and release. The arrangement of Bello’s sculptures and the irregular table supporting them act as an impermanent map of relationships that will be changed and traced by the artist over the course of the exhibition.
Each of Dana DeGiulio‘s paintings represents a day — the day in which it was made, as well as the artist’s experience of existing with and in relation to that painting during the time of its making. Indeed, DeGiulio says that the painting is only finished “when it doesn’t feel like me anymore.”
Andreas Fischer‘s paintings offer multiple sites of touch: every brush stroke through which Fischer’s enigmatic forms are realized can be seen as a form of touch and an attempt to reach outward. The artist paints, trusting that the painting can foster a real, psychologically complex connection with viewers–in other words, touch them. As Fischer has said in an artist’s statement, “intimacy is the goal…unless that is too weird.”
Alejandro Jiménez-Flores’ delicate pastel and colored pencil paintings explore the multiplicity of image, memory, and language as they translate floral imagery across different surfaces over time. As the flowers mutate from one work to the next, appearing at times to hover just above the surface, Jiménez-Flores’ gestures point to a desire for “a language that is not yet there.”
Joyce Lung’s humanoid ceramic oddities juxtapose and sometimes literally intertwine the dichotomous materialities of hard and soft, looking and touching, as a way for the artist to come to terms with the “nature vs. nurture” debate as it relates to her own family history and the deep emotional bond she formed with a caregiver during her early childhood years.
SaraNoa Mark’s carved clay drawings evoke archaeological fragments as well as natural marks etched into landscapes by wind and water. Through the subtractive process of carving, Mark materializes the invisible activity of time while also speaking to absences and erasures within documents, landscapes, stories, and records.
Kellie Romany is an abstract, non-representational, figurative painter interested in bodily representation, materiality, and the history of the painting process. Using a color palette of skin tones, Romany paints to create portraits of diversity and the systems her body lives within.