Laurel Sparks,  Untitled,  2014,  Collograph and chine colle on paper, 30 x 22 inches

Laurel Sparks, Untitled, 2014,  Collograph and chine colle on paper, 30 x 22 inches

EFA RBPMW SIP Fellowship Show II
Exhibiting Artists: Xenobia Bailey, EJ Hauser, Laurel Sparks, and Katie Yang

On View: July 9 - August 2,  2015
Opening Reception: Thursday,  July 9th,  6 - 8 pm

20|20 Gallery
The Elizabeth Foundation for the Arts
323 West 39th Street, FL 5
New York, NY 10018

We are delighted to welcome back our 2014 Studio Immersion Project Fellows in a two-part, summer exhibition series featuring their recent work. Our second show includes work by Xenobia Bailey, EJ Hauser, Laurel Sparks, and Katie Yang.

The SIP Fellowship is a three-month intensive program designed to immerse artists in the printmaking medium. Many of our Fellows have never made a print before entering the workshop. They all bring their experience and sensitivities from other mediums, including painting, drawing, ceramics, and sculpture and apply them to the tradition of print often in surprising ways.

The work on view in this exhibition reveals the influence printmaking has played in each artist’s broader artistic practice. Primarily through crocheted work, Bailey has been developing a historical narrative entitled, “Paradise in the Aesthetic of Funk: a story of ‘Grace Deferred’”. Since her fellowship year, Bailey has continued experimenting with printmaking allowing her to find new ways of telling this story. Hauser’s non-representational paintings investigate her interest in digital/analog, “communication, perception, psychology, mythologies, and the history of mark making”. Medium and material specific speeds of printmaking and its relationship to the multiple have transformed the way she approaches her paintings, which she now creates in series. Sparks’ interest in tactility is well served by collography’s essential connection to materiality. By cutting up materials into irregular shapes she is able to playfully create work that reads both as object and as image. For Yang, primarily a ceramicist, printmaking altered the way she approaches three dimensional work. Through the use of image transfers, Yang expands her language in both mediums creating a palpable conversation between paper, clay, and image in unexpected ways.