Image: Sasha Bergstrom-Katz, Cup and Ball, cast aluminum, 2018

Opening Reception: July 19, 7-10pm

Gallery Hours: Thursday – Monday, 12pm-6pm

Sasha Bergstrom-Katz 

Rachel Borenstein 

Niloufar Emamifar 

Miranda Javid

Kyle Welker

Kim Garcia 

Joshua Ross 

Eva Słapa

Amy Mackay 

Consider the idea of the fold. It is both a gesture and a mark, a mode of concealment and of obfuscation. One can get lost in the fold just as the act of folding might provide direction or even answers. A fold is a fracture in the surface and it is a gentle graze. It is, in this way, a clever contradiction. A fold implies elasticity, movement, and variation. The works in Arc, Wobble, Fade, Fold rely on the tensility of their materials, the malleability of their formation. These pieces come together in their shifting, volatile dispositions. 

Is a fold a boundary? Some works delve into the politics of geographic “air rights” and the arbitrary property rights used to delineate borders and measure public space. Other pieces consider the inherent choreography of the garment as it wrinkles, puckers, and cinches on the body. There are abstract documents of constructed or staged group experiences, where a large-scale painting of curved, undulating strokes might serve to mark, or archive, a collective event. 

The fold—or the fissure—is hidden in the systems of other artworks. In one sculptural installation of tangled glass tubes, both the flow and the source of tube water is concealed by the coiling continuity of its transparent conduit. Another artist explores the interior apparatus of the magician’s false “cup-and-ball” props. Here, the trick is embedded into the object itself, eliminating any need for sleight of hand. 

Some cast structures carry impressions and indentations of tactile molds. These fabricated forms likewise hint at tensions, misunderstandings, missed connections—an elaborate index of social interactions. Another work seeks to demarcate definitive moments in more abstract pursuits such as mapping the pollination range of honey bees. Still other pieces dissect the flat surface of the canvas, carving holes and manipulating material into intricate contours. Short looping animations dwell on mortality and the passage of time, the folding of the day as the sun sets. 

As both a cover and an idea that might open out into something else, the fold is a point of entry into deconstruction, revision, and the broader notion of change. When we see these artworks together, we see the seams that hold our surroundings. 

Curated by Simone Krug and Eric Kim