http://www.adawright.com/future-touch-at-hionas-gallery daily 0.75 2024-05-23 https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1420666376228-3S3PBP7S5JA5WREXBJJ9/Future-Touch-Flyer+WEBSITE.png Future Touch at Hionas gallery FUTURE TOUCH Amy Brener, Yeni Mao, Benjamin Phelan and Jason Severs Curated by Ada Potter Hionas Gallery | 124 Forsyth Street, NY Future Touch investigates what it means to look digital. New technologies have bred new aesthetics, which artists must somehow address. Each participating artist’s work seems to have been made by hands that understand an iPhone screen. Their work is animated by a futuristic or digital touch. This diverse collection of work illustrates the pervasive quality of contemporary technology. Materials range from resins and Styrofoam to paint and collage, yet these physical objects are imbued with a hi-tech, ephemeral quality. In one sense, their forms make the often intangible tactile. Amy Brener uses no digital processes in creating her work, yet her objects invoke a technology that is visually inescapable. This is also true of Yeni Mao, who uses more culture-specific material—in this case stills from Kung-Fu films—to create pictures that are at once undeniably analog, while at the same time come across as digital to the viewer’s screen-trained eyes. Jason Severs, who is Executive Creative Director at Frog Design, also builds images using traditional art materials. But he uses tools like Photoshop, the iPad app Paper, and the software Processing to sketch with code. By utilizing the visual language that these programs imply he makes paintings that recall digital space. Similar to Severs, Benjamin Phelan uses software to model and CNC his sculptures. Phelan captures abstract gestures using motion capture spacial recording software that he then renders in Styrofoam and illuminates using prismatic LED gradients. Regardless of their literal connection to technology, each artist is making a gesture that is mediated by digital terms. These individual, abstract gestures seem to project a new form of subjectivity into our technology-driven future. https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1420666376228-3S3PBP7S5JA5WREXBJJ9/Future-Touch-Flyer+WEBSITE.png Future Touch at Hionas gallery FUTURE TOUCH Amy Brener, Yeni Mao, Benjamin Phelan and Jason Severs Curated by Ada Potter Hionas Gallery | 124 Forsyth Street, NY Future Touch investigates what it means to look digital. New technologies have bred new aesthetics, which artists must somehow address. Each participating artist’s work seems to have been made by hands that understand an iPhone screen. Their work is animated by a futuristic or digital touch. This diverse collection of work illustrates the pervasive quality of contemporary technology. Materials range from resins and Styrofoam to paint and collage, yet these physical objects are imbued with a hi-tech, ephemeral quality. In one sense, their forms make the often intangible tactile. Amy Brener uses no digital processes in creating her work, yet her objects invoke a technology that is visually inescapable. This is also true of Yeni Mao, who uses more culture-specific material—in this case stills from Kung-Fu films—to create pictures that are at once undeniably analog, while at the same time come across as digital to the viewer’s screen-trained eyes. Jason Severs, who is Executive Creative Director at Frog Design, also builds images using traditional art materials. But he uses tools like Photoshop, the iPad app Paper, and the software Processing to sketch with code. By utilizing the visual language that these programs imply he makes paintings that recall digital space. Similar to Severs, Benjamin Phelan uses software to model and CNC his sculptures. Phelan captures abstract gestures using motion capture spacial recording software that he then renders in Styrofoam and illuminates using prismatic LED gradients. Regardless of their literal connection to technology, each artist is making a gesture that is mediated by digital terms. These individual, abstract gestures seem to project a new form of subjectivity into our technology-driven future. https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1414371498895-6QNR116TECXBRSBW3A76/016s.jpg Future Touch at Hionas gallery Amy Brener, Proa, 2013, 92 x 17 x 7 in, Resin, foam, pigment, hydrostone, glass, plexiglass, found objects https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1414371497503-PNE0GZVHSU74WR276SYC/012s.jpg Future Touch at Hionas gallery Foreground: Amy Brener Background: Yeni Mao,The Hustle, 2010, 42 x 32 in, Archival inkjet print collage on mylar https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1414371866061-J810F7CRJE32FDIRCJJQ/013s.jpg Future Touch at Hionas gallery Yeni Mao,The Hustle, 2010, 42 x 32 in, Archival inkjet print collage on mylar https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1414371496837-V1R6DEHATB97FEFTQU41/011s.jpg Future Touch at Hionas gallery Amy Brener https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1414371495722-6RB4I2OE04XYHD05J8MT/007s.jpg Future Touch at Hionas gallery Installation view https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1414371814834-4K14DIWPXSZ0N5W83WR3/010s.jpg Future Touch at Hionas gallery Jason Severs, Crooked Pyramids, 2014, 20.5 x 28.5 in, Mixed media on birch https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1414371495584-FS4KJJZU7DCZW54UJC1Y/008s.jpg Future Touch at Hionas gallery Amy Brener, Bit, 2012, 15 x 38 x 2.5 in, Resin, gypsum, pigment, fresnel lens, found objects https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1414371493532-MBKE0KUKP14RDBIZOMHE/001s.jpg Future Touch at Hionas gallery Benjamin Phelan, Demo Center - RGB Phantom Sim Stick, 72 x 17 x 24 in, Extruded Styrofoam, iPhone, Activatar App, MetroCard https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1414371495109-83F9N1X0IAN0FRVNAZ6D/006s.jpg Future Touch at Hionas gallery Installation View https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1414371494257-2AK3K3J0BRCSHURHSGE5/003s.jpg Future Touch at Hionas gallery Benjamin Phelan, Flux Discharge Index Cascade, 50 x 40 x 7 in, Extruded Styrofoam, LED pixel lighting system https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1414371494496-B1RUDB6LOSC4AD1Y2B9V/004s.jpg Future Touch at Hionas gallery Benjamin Phelan, Icosagon Mass Spile Driver, 101 x 28 x 31 in, Extruded Styrofoam, LED pixel lighting system http://www.adawright.com/ally daily 0.75 2014-05-01 https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1398970172428-M5KX37RP5N0PL1JJFH15/IMG_0109.JPG Ally Ally 1, digital Print, 2014 https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1398970172428-M5KX37RP5N0PL1JJFH15/IMG_0109.JPG Ally Ally 1, digital Print, 2014 https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1398970172434-Y3MQCGECM4J16QVVTL0P/IMG_0111.JPG Ally Ally 2, digital Print, 2014 https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1398970173291-XSTNR47T4RIYT9QCOCXC/IMG_0112.JPG Ally Ally 3, digital Print, 2014 https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1398970173423-657Z6KKF1D4I18V68LQL/IMG_0113.JPG Ally Ally 4, digital Print, 2014 https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1398970174244-ZD83IXLNWCMCM99GNR65/IMG_0114.JPG Ally Ally 5, digital Print, 2014 https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1398970174252-Q22M3EMK3E7KTRE9TDQ2/IMG_0115.JPG Ally Ally 6, digital Print, 2014 https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1398970175295-3O026ZKRFVIY7E97OU0W/IMG_0116.JPG Ally Ally 7, digital Print, 2014 https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1398970175517-OBHM71LKUYBDL2IUK4MM/IMG_0117.JPG Ally Ally 8, digital Print, 2014 http://www.adawright.com/curatorial-projects daily 0.75 2014-02-01 http://www.adawright.com/enduring-epemera daily 0.75 2024-05-23 https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1391273556186-SRUA90CGQ343VROGBU88/Enduring+Ephemera+Invite+Front.jpg Enduring Epemera Enduring Ephemera | Louise McCagg Gallery at Barnard College Alex Abelson, K Hole, Ian Jeffery, Hannah Kahng (BC’11), Melinda Kiefer, Benjamin Phelan, Ada Potter (BC’11), and Alyssa Rapp (BC’11) Wendy Hui Kyong Chun coined the term “Enduring Ephemeral” in her book on digital memory, Programmed Visions, 2011 MIT Press. The phrase found immediate resonances in that it succinctly describes far more complex ideas that surround the conflation of digital storage and human memory. As our external hard drives fill with GB of stored images, videos, books, music, and documents, what becomes of our understanding of memory? Almost everyone has experienced the failure of a digital device and the panicked sense of loss that follows. Nevertheless, we quickly replace failed components and begin to replenish our lost files with new media. YouTube videos flash by, catch on and quickly fall into a digital purgatory, the forgotten recent past. This interchangeability and quick restoration changes the status and weight of these files, specifically, images become less precious. We remain attached to the idea of them safely in storage yet rarely revisit them. Thus contemporary images are imbued with an “enduring ephemeral” quality, where they persist in digital storage while they are only encountered in a fleeting, transient space and time. Fiber optic networks, cloud computing, and the pervasiveness of digital infrastructure have dramatically changed our sense of memory and created a unique temporality that did not exist before the Internet. How, as artists do we think about these shifts? What new problems arise from these invisible digital regimes? And what new possibilities become available? The work in this show portrays a diverse response to these technological changes. They range from the media-savvy, digital works of K Hole to the concrete, site-specific sculptures of Melissa Kiefer. Benjamin Phelan and Alyssa Rapp all employ a kind of topographic method in approaching this new digital realm, tracing new surfaces and making the physical intangible. Hannah Kahng’s webcam films portray a bizarre intimacy only available via a supposedly alienating technology. The images created by Alex Abelson and Ian Jeffery also hinge on a digital premise. A computer eye processes their work, filtering or cropping, gaining or losing data, and in the end they become new images in a world where no image can be new. Although each artist’s approach is different, each work relies on a cyber consciousness, a digital vision or perspective that has only become possible in the last 15 years. This exhibition seeks to capture some of this perspective without affixing a fleeting, soon-to-be-obsolete point of view. https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1391273556186-SRUA90CGQ343VROGBU88/Enduring+Ephemera+Invite+Front.jpg Enduring Epemera Enduring Ephemera | Louise McCagg Gallery at Barnard College Alex Abelson, K Hole, Ian Jeffery, Hannah Kahng (BC’11), Melinda Kiefer, Benjamin Phelan, Ada Potter (BC’11), and Alyssa Rapp (BC’11) Wendy Hui Kyong Chun coined the term “Enduring Ephemeral” in her book on digital memory, Programmed Visions, 2011 MIT Press. The phrase found immediate resonances in that it succinctly describes far more complex ideas that surround the conflation of digital storage and human memory. As our external hard drives fill with GB of stored images, videos, books, music, and documents, what becomes of our understanding of memory? Almost everyone has experienced the failure of a digital device and the panicked sense of loss that follows. Nevertheless, we quickly replace failed components and begin to replenish our lost files with new media. YouTube videos flash by, catch on and quickly fall into a digital purgatory, the forgotten recent past. This interchangeability and quick restoration changes the status and weight of these files, specifically, images become less precious. We remain attached to the idea of them safely in storage yet rarely revisit them. Thus contemporary images are imbued with an “enduring ephemeral” quality, where they persist in digital storage while they are only encountered in a fleeting, transient space and time. Fiber optic networks, cloud computing, and the pervasiveness of digital infrastructure have dramatically changed our sense of memory and created a unique temporality that did not exist before the Internet. How, as artists do we think about these shifts? What new problems arise from these invisible digital regimes? And what new possibilities become available? The work in this show portrays a diverse response to these technological changes. They range from the media-savvy, digital works of K Hole to the concrete, site-specific sculptures of Melissa Kiefer. Benjamin Phelan and Alyssa Rapp all employ a kind of topographic method in approaching this new digital realm, tracing new surfaces and making the physical intangible. Hannah Kahng’s webcam films portray a bizarre intimacy only available via a supposedly alienating technology. The images created by Alex Abelson and Ian Jeffery also hinge on a digital premise. A computer eye processes their work, filtering or cropping, gaining or losing data, and in the end they become new images in a world where no image can be new. Although each artist’s approach is different, each work relies on a cyber consciousness, a digital vision or perspective that has only become possible in the last 15 years. This exhibition seeks to capture some of this perspective without affixing a fleeting, soon-to-be-obsolete point of view. https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1391289658732-LHQQAQ2F8SHX6XXNBYRP/IMG_2339.JPG Enduring Epemera https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1391290736939-36IG510MLTYXXNPGE2CE/EE-1.jpg Enduring Epemera https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1391289657299-LVO5RHNH4UW494PZ1EH6/IMG_2338.JPG Enduring Epemera https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1391289659071-D84BXNZ4O3FJEMV9IIF0/IMG_2340.JPG Enduring Epemera https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1391289655527-8D96Q7ICRF67KS4FRM75/IMG_2336.jpg Enduring Epemera http://www.adawright.com/roadside daily 0.75 2016-12-21 https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1396027735069-TTX9PU0YZTXWHJT78VW3/Billboard5.jpg Roadside Roadside Corona-Riverside, CA December 2, 2011 from 12am (7:44*) to 11:59pm *late start time due to technical difficulties https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1396027735069-TTX9PU0YZTXWHJT78VW3/Billboard5.jpg Roadside Roadside Corona-Riverside, CA December 2, 2011 from 12am (7:44*) to 11:59pm *late start time due to technical difficulties https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1396027733946-1QERYK3TH7VK9MHN01ZC/Billboard4.jpg Roadside Roadside Corona-Riverside, CA https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1396027737238-FZQNFPZHGYHOHKFER77E/Billboard6.jpg Roadside Roadside Corona-Riverside, CA https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1396027738862-XY8M4XZWYNW9EYFO075J/Billboard7.jpg Roadside Roadside Corona-Riverside, CA https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1396027731555-ONJA6CNO9U95BYYLDXFU/Billboard2.jpg Roadside Roadside Corona-Riverside, CA https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1396027738738-GXHCIQCER2Q0L870DE1M/Billboard8.jpg Roadside Roadside Corona-Riverside, CA https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1384722383066-MCUG0Z4TM4PRBKCNN98X/Billboard10.jpg Roadside Roadside Corona-Riverside, CA https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1396027741995-ZA4ZEH24KMMG4QZ0DSX4/Billboard11.jpg Roadside Roadside Corona-Riverside, CA https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1396027740176-NK6UFQBIYHJ4JQF9RQPB/Billboard9.jpg Roadside Roadside Corona-Riverside, CA https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1396027742273-ZE4VJG9H0M4NIZ52QFE0/Billboard12.jpg Roadside Roadside Corona-Riverside, CA http://www.adawright.com/objects daily 0.75 2024-05-22 https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1421099789874-NOL6G6WSXDNNANYVRYAA/image-asset.jpeg surface, stage surface, ground, 2014, digital composit print on acetate, digital prints on mylar, florescent lights I am interested in imagining the material surface of digital images. The objects I make play with what is obscured and what is permeable in these files. I seek to re-stage digital photographs in a way that plays with medium and material. Digital matter is often understood as insignificant or fleeting, here it is absurdly rendered tactile. I observe the surface to gain a formal grounding that allows room for abstraction and identification. Here the literal ground, a cement sidewalk, is tipped on its axis. The photographic print is illuminated and given physical dimensions. The window is covered by a composite flood shade. I use light to point to the history of film and photography. I am asking images to perform and take on multiple material structures. Through reflection and mimicry, I create a theater where artificial simultaneities and multiplicities are allowed to play out. https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1421099789874-NOL6G6WSXDNNANYVRYAA/image-asset.jpeg surface, stage surface, ground, 2014, digital composit print on acetate, digital prints on mylar, florescent lights I am interested in imagining the material surface of digital images. The objects I make play with what is obscured and what is permeable in these files. I seek to re-stage digital photographs in a way that plays with medium and material. Digital matter is often understood as insignificant or fleeting, here it is absurdly rendered tactile. I observe the surface to gain a formal grounding that allows room for abstraction and identification. Here the literal ground, a cement sidewalk, is tipped on its axis. The photographic print is illuminated and given physical dimensions. The window is covered by a composite flood shade. I use light to point to the history of film and photography. I am asking images to perform and take on multiple material structures. Through reflection and mimicry, I create a theater where artificial simultaneities and multiplicities are allowed to play out. https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1421099892227-NH9445EU9FLDQSBWT5XD/apotter-2.jpg surface, stage surface, ground (detail), 2014, digital composit print on acetate, digital prints on mylar, florescent lights https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1421099900222-Y4XOIBN79XRI3DLKHEL8/apotter-3.jpg surface, stage surface, ground (detail), 2014, digital composit print on acetate, digital prints on mylar, florescent lights https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1420664103395-Y7MOWVJDSSEAC47DCCM2/Ada_Potter_7.jpg surface, stage mobile flood ,48 x 24 in, mylar, fluorescent light, birch plywood, plexiglass, cotton digital print, casters, acetate digital print, photography backdrop, 2014 https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1421099905971-8MHG27R9GN54OW8D0DRX/apotter-5.jpg surface, stage mobile flood ,48 x 24 in, mylar, fluorescent light, birch plywood, plexiglass, cotton digital print, casters, acetate digital print, photography backdrop, 2014 https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1420664121839-0MSLF79YHVBCS6Z0OKZV/Ada_Potter_8.jpg surface, stage waterline, two 24 x 11 in shelves plexiglass, acetate digital prints 2014 https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1421099912417-VKB9W4NIYQN2LVB5WP8B/apotter-6.jpg surface, stage flood crate, generic crate, plexiglass, acetate digital print, floresent light, 2014 https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1432856976782-P25OQLLK8EIEX9038D4L/Ada_Potter_3.jpg surface, stage Bunker Installation (detail), generic tablet, plexi, iceberg cyanotype, iceberg acetate negative, organza print paper backing, 2014 https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1410208916781-UYK8OML29QUQ7183HWUF/Scroll+1.jpg surface, stage scroll shelf, plexi, iceberg cyanotype, hardware, 2014 http://www.adawright.com/corners-of daily 0.75 2015-01-12 https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1421099603474-A9S46M60XL1F2U1ZI7UX/Chelsea+Corners-1.jpg Corners of https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1421099603474-A9S46M60XL1F2U1ZI7UX/Chelsea+Corners-1.jpg Corners of https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1421099603324-WQY3MNA1SURR51W4QHNH/Chelsea+Corners-2.jpg Corners of https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1421099607749-0GS4EXNTPTGK685IEL4F/Chelsea+Corners-3.jpg Corners of https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1421099607991-PCLBOB5GEL1TDFZ2L8G1/Chelsea+Corners-4.jpg Corners of https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1421099614545-3HHB2KET8FRITQH152SS/Chelsea+Corners-5.jpg Corners of https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1421099614308-H8X84GJEIYSOVOW3M05B/Chelsea+Corners-6.jpg Corners of https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1421099619638-XK6IROBYGG2SC3Z7S87B/Chelsea+Corners-7.jpg Corners of https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1421099619373-JDN5ISGECYUQTUPVLTOH/Chelsea+Corners-8.jpg Corners of https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1421099623273-7XM31RG04JG7XTI5ATI4/Chelsea+Corners-9.jpg Corners of https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1421099624554-VM2RZQS8FISZZY5KWIU4/Chelsea+Corners-10.jpg Corners of https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1421099626850-7UC9SWOS53A3LKOMSQZZ/Chelsea+Corners-11.jpg Corners of http://www.adawright.com/new-gallery daily 0.75 2024-05-22 https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1426456738433-OBJ2D4XM9BCKM9LON56S/DSC_0685.jpg surface scan, fragment stage surface scan, fragment stage, 2015, projection from scanned fragment of reflective mylar In my installations, I re-stage the material qualities of photography. I use reflective mylar and mirrors to capture and play with light, calling up an analog, film process. By printing on transparent acetate, I am playing at making film in an absurd but sincere way. For example in flood prop, I created a composite of Venetian flood scenes and then set the acetate print on casters, asking the print to perform. It becomes a prop meant to mimic a deluge, rendering it pristine. In surface scan, fragment stage I scanned a piece of torn, reflective mylar. I created a specific stage or ground upon which the projection can retrace the fragment. Through the projection of the image, the abraded surface starts to be akin to abstract painting and drawing. I like to think about the surface qualities of digital image files, giving them grounding and structure. surface study is another rendering of the mylar marks, reprinted to further flatten the material. Its place at the window, along with its awkward margins make it almost not there. It poses as a kind of negative in response to the projection. There is a futility in my aspirational rethinking of materials. I want to create a space we don’t have. We can’t experience touch or texture via a projection. But the seams of this illusion are fundamental to the theater I enliven https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1426456738433-OBJ2D4XM9BCKM9LON56S/DSC_0685.jpg surface scan, fragment stage surface scan, fragment stage, 2015, projection from scanned fragment of reflective mylar In my installations, I re-stage the material qualities of photography. I use reflective mylar and mirrors to capture and play with light, calling up an analog, film process. By printing on transparent acetate, I am playing at making film in an absurd but sincere way. For example in flood prop, I created a composite of Venetian flood scenes and then set the acetate print on casters, asking the print to perform. It becomes a prop meant to mimic a deluge, rendering it pristine. In surface scan, fragment stage I scanned a piece of torn, reflective mylar. I created a specific stage or ground upon which the projection can retrace the fragment. Through the projection of the image, the abraded surface starts to be akin to abstract painting and drawing. I like to think about the surface qualities of digital image files, giving them grounding and structure. surface study is another rendering of the mylar marks, reprinted to further flatten the material. Its place at the window, along with its awkward margins make it almost not there. It poses as a kind of negative in response to the projection. There is a futility in my aspirational rethinking of materials. I want to create a space we don’t have. We can’t experience touch or texture via a projection. But the seams of this illusion are fundamental to the theater I enliven https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1426456956159-C3J1YWKXUUXDUB3E0Y5X/image-asset.jpeg surface scan, fragment stage surface scan, fragment stage, 2015, projection from scanned fragment of reflective mylar   https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1426456740981-O857JCTJR6ZSVBX1XUSI/DSC_0704.jpg surface scan, fragment stage surface scan, fragment stage, 2015, projection from scanned fragment of reflective mylar https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1716405674103-EBYY6ZBRGVO0GDV3381D/DSC_0679.jpg surface scan, fragment stage https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1716405700076-T83WD067GY51DH25JA9C/DSC_0692.jpg surface scan, fragment stage https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1716405712741-8D4EPD6MHQ1KETVMXRF9/DSC_0700.jpg surface scan, fragment stage https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1716405854720-I7K4TGL9NY0JV5E7Z1G0/DSC_0677.jpg surface scan, fragment stage http://www.adawright.com/web-sites daily 0.75 2022-11-16 https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1384709669765-LOFX7UPJNOXAZXCVSDFF/Potter-Image1.jpg web, sites Webcam sites, 2012, digital prints on organza, https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1384709669765-LOFX7UPJNOXAZXCVSDFF/Potter-Image1.jpg web, sites Webcam sites, 2012, digital prints on organza, https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1398023278159-OUFW05KELGB5TQMURV2R/DSC_0385-2.jpg web, sites Ada's Grave, plexi display case with organza print and paper backing, 2014 https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1421099918177-6OIIWEH40AOSOSL88K8P/apotter-7.jpg web, sites mountain cam, digital print on organza and paper backing, 2014 https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1397943802081-YGPDLCRMMCW2ME44IATV/IMG_0105-8.jpg web, sites Succulent_+, 2013, digital print on organza 6 x 8 in https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1397943943888-YCA5D6CUFSQJWSXRBCE4/DSC_0281-10.jpg web, sites Timelaps, tracing paper, linen, digital organza print, plexiglass, nails. 2013 https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1420663981352-VWJYV3FLE09NEXCDBGV3/Ada_Potter_6.jpg web, sites Diet, 8 x 10 in, translucent adhesive vinyl, wood 2013 https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1397944035143-JNTP7OX4VO1N29QF9L31/IMG_0133-12.jpg web, sites Screen skeuomorph, gradient print on acetate, 2013 http://www.adawright.com/mfa-thesis daily 0.75 2024-05-22 https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1431104535223-6JG5NJE8QYNO4E0J0KWH/MFA+Thesis1.jpg MFA Thesis surface, ground | MFA Thesis Exhibition at Pratt Institute | April 2015 This series of works is about restaging and imaging the material properties of digital photographs. I use transparent and translucent materials, like acetate and mylar, to mimic analog film while calling up a sense of hi-tech ephemerality. Because of the vast quantity of images that are never printed, we think of digital images as files. They become abstract. We misunderstand them as transient or insignificant while in fact these files carry consequences and trace real occurrences. My response is to literally flip the photographic ground, disorienting the figure and emphasizing surface. The prints are digitally altered, illuminated, and flipped on their axis to muddle recognition. I am thinking about the difference between formal surface and physical or metaphorical grounding. In a darkroom, finding the film grain is crucial to printing a clear image. I love this grain and it still haunts my digital process. Documenting the texture of surfaces is a way for me to focus on the grain of the image outside of an analog process. https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1431104535223-6JG5NJE8QYNO4E0J0KWH/MFA+Thesis1.jpg MFA Thesis surface, ground | MFA Thesis Exhibition at Pratt Institute | April 2015 This series of works is about restaging and imaging the material properties of digital photographs. I use transparent and translucent materials, like acetate and mylar, to mimic analog film while calling up a sense of hi-tech ephemerality. Because of the vast quantity of images that are never printed, we think of digital images as files. They become abstract. We misunderstand them as transient or insignificant while in fact these files carry consequences and trace real occurrences. My response is to literally flip the photographic ground, disorienting the figure and emphasizing surface. The prints are digitally altered, illuminated, and flipped on their axis to muddle recognition. I am thinking about the difference between formal surface and physical or metaphorical grounding. In a darkroom, finding the film grain is crucial to printing a clear image. I love this grain and it still haunts my digital process. Documenting the texture of surfaces is a way for me to focus on the grain of the image outside of an analog process. https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1431104547259-VOJHJZR94CGL9134CZ8B/MFA+Thesis18.jpg MFA Thesis sidewalk stage, cotton digital print, plywood, plexi, pen and paper, florescent light with timer 24 x 48 in, 2015 https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1431104546227-E0VS910NXL3FJXZB6M0Q/MFA+Thesis17.jpg MFA Thesis sidewalk stage, cotton digital print, plywood, plexi, pen and paper, florescent light with timer 24 x 48 in, 2015 https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1431104546467-POMR2J0S1751VWTBXUKU/MFA+Thesis16.jpg MFA Thesis sidewalk stage, cotton digital print, plywood, plexi, pen and paper, florescent light with timer 24 x 48 in, 2015 https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1431104543373-DON0D4LDTRJ4824BMXB6/MFA+Thesis14.jpg MFA Thesis sidewalk stage, cotton digital print, plywood, plexi, pen and paper, florescent light with timer 24 x 48 in, 2015 https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1431104540636-3L86XZ88P3ERTYIXNJI4/MFA+Thesis10.jpg MFA Thesis On left - surface layer, acetate digital print, reflective mylar, translucent mylar, light stand, dimensions variable, 2015 On right - surface scan/stage, projection from scanned fragment of reflective mylar, dimensions variable, 2015 https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1431104542448-NJOTM9MKS80X2W0BUBXU/MFA+Thesis11.jpg MFA Thesis surface layer (detail), acetate digital print, reflective mylar, translucent mylar, light stand, dimensions variable, 2015 https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1431104540103-2SMNQQVIBJDT8S4F7L3I/MFA+Thesis9.jpg MFA Thesis On left - Ice field 1 & 2, platinum prints, 8 x 10 in, 2014 On right - surface scan/stage, projection from scanned fragment of reflective mylar, dimensions variable, 2015 https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1431104553135-JB5M99ZV4FLADVPMJB73/MFA+Thesis26.jpg MFA Thesis Ice field 1 & 2, platinum prints, 8 x 10 in, 2014 https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1432736948901-LB6PX6ZBZBX66HX2NN0Z/Potter_Ada-10.jpg MFA Thesis Ice field 1, platinum prints, 8 x 10 in, 2014 https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1431104541965-O0MCSW9V2S9X1EKMQLEY/MFA+Thesis12.jpg MFA Thesis Installation view https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1431104552217-524JLLA7YFVUSSEO0PJS/MFA+Thesis24.jpg MFA Thesis tactile fragments, fired and glazed clay on wood pedestal, 24 x 48 in, 2015 https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1437146851775-6APCTE4W3QLFQWSLB9T4/MFA+Thesis25.jpg MFA Thesis tactile fragments, fired and glazed clay on wood pedestal, 24 x 48 in, 2015 https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1431104539845-QPTKEN7V4OKA6UJ8RZA4/MFA+Thesis8.jpg MFA Thesis Installtion view https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1432737024222-8W2PYZHNG9FNZNF0HC9S/MFA+Thesis7.jpg MFA Thesis Installation view https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1426456739405-4Z3YQZBIXM279EI5PRAM/DSC_0692.jpg MFA Thesis flood prop, 2015, 32 x 24 in, mirror, plexiglass, acetate digital print, casters https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1431104536728-Q555WL0MJA5DKMQCSOD3/MFA+Thesis4.jpg MFA Thesis flood prop (detail), 2015, 32 x 24 in, mirror, plexiglass, acetate digital print, casters https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1431107428574-YOZZTIDR4EEAGVY79NRQ/MFA+Thesis21.jpg MFA Thesis flood prop 2, lift kit stands, acetate digital print, 32 x 24 in, 2015 http://www.adawright.com/tissue-1 daily 0.75 2024-05-22 https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1476048122813-YR5XW72589D7X0MFJ7CA/Tissue-1.jpg Tissue This series of images are photographs of different brands and types of paper tissues and towels. The embossed design on the surface of the tissue along with the folds and creases are recorded here to focus our attention on often overlooked details. The subtle shifts in the white materials become the focus of the image. The designs vary from brand to brand but unlike most branding, the generic designs offer an often unrecognizable stamp. The material is fleeting and unimportant but holds our formal attention. https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1476048122813-YR5XW72589D7X0MFJ7CA/Tissue-1.jpg Tissue This series of images are photographs of different brands and types of paper tissues and towels. The embossed design on the surface of the tissue along with the folds and creases are recorded here to focus our attention on often overlooked details. The subtle shifts in the white materials become the focus of the image. The designs vary from brand to brand but unlike most branding, the generic designs offer an often unrecognizable stamp. The material is fleeting and unimportant but holds our formal attention. https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1476048122490-MM72PVDPU7ELR180K310/Tissue-2.jpg Tissue https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1476048319297-B0SGMEWPLG62LXV6CACD/Tissue-3.jpg Tissue https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1476048129863-1QXQAY4XTTCXC4AJ1ZXV/Tissue-5.jpg Tissue https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1476048132099-GD27VPWI6KNHCB277R92/Tissue-7.jpg Tissue https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1476048139281-RK1NZR8J1FAQHWOMT8SU/Tissue-12.jpg Tissue https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1476048151778-7XCHSISYVR4DRNVK475M/Tissue-17.jpg Tissue https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1476048157593-RZAY00P2RUMZF162CS9G/Tissue-19.jpg Tissue https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1476048164801-7JSN4VFEB4WM3MJL36W7/Tissue-21.jpg Tissue https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1476048174011-OKR0YIHZA9JSRJ7QEA7E/Tissue-25.jpg Tissue https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1476048183012-T7CNI3HXP8XJZ8042LQ4/Tissue-29.jpg Tissue https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1476048191823-M0F1FN329QUZE9WZ56LU/Tissue-31.jpg Tissue http://www.adawright.com/off-camera-barnard-thesis-exhibition daily 0.75 2024-05-23 https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1631650408858-A5B763GSDPG4DUHYOMGU/Senior+Show+Poster+2021.jpg off-camera, Barnard College Thesis Exhibition 2021 https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1631650408858-A5B763GSDPG4DUHYOMGU/Senior+Show+Poster+2021.jpg off-camera, Barnard College Thesis Exhibition 2021 https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1631646307462-JU4JUU7RKSLO535ANXY5/image-asset.jpg off-camera, Barnard College Thesis Exhibition 2021 https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1631646002609-V7AUKO9GJ6XD2ND1UXVD/Barnard+Senior+Thesis+Show+2021+DSF8489.jpg off-camera, Barnard College Thesis Exhibition 2021 https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1631646003451-U1H7SGZTBID7QQWXWVCA/Barnard+Senior+Thesis+Show+2021+DSF8602.jpg off-camera, Barnard College Thesis Exhibition 2021 https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1631646028238-D7ZENZ3JYRESTJHLF0WY/Barnard+Senior+Thesis+Show+2021+DSF8759.jpg off-camera, Barnard College Thesis Exhibition 2021 https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1631646028333-PZ1PKPPD4VMLUFL5U0CP/Barnard+Senior+Thesis+Show+2021+DSF8785.jpg off-camera, Barnard College Thesis Exhibition 2021 https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1631646014916-G4KPZUYCEVLQWOD0G5LK/Barnard+Senior+Thesis+Show+2021+DSF8660.jpg off-camera, Barnard College Thesis Exhibition 2021 https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1631646014102-Y8DS1ZXMWFY22LF3Y94E/Barnard+Senior+Thesis+Show+2021+DSF8628.jpg off-camera, Barnard College Thesis Exhibition 2021 https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1631646040760-AMHW01J0T31H42MXS3P4/Barnard+Senior+Thesis+Show+2021+DSF8800.jpg off-camera, Barnard College Thesis Exhibition 2021 https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1631646042712-45Q2GHPZE3BH826SE9ZG/Barnard+Senior+Thesis+Show+2021+DSF8807.jpg off-camera, Barnard College Thesis Exhibition 2021 https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1631645945484-D7YCQ6UCEONDM5Z0F2H9/Barnard+Senior+Thesis+Show+2021+DSF8245.jpg off-camera, Barnard College Thesis Exhibition 2021 https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1631645946389-2PV1SBU9W2L42TVG2QZ8/Barnard+Senior+Thesis+Show+2021+DSF8294.jpg off-camera, Barnard College Thesis Exhibition 2021 https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1631645933383-Q8UW22KMMG33K0D4G6SR/Barnard+Senior+Thesis+Show+2021+DSF8236.jpg off-camera, Barnard College Thesis Exhibition 2021 https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1631645925697-0W9HK1HZFZ4XTZL73UG8/Barnard+Senior+Thesis+Show+2021+DSF8200.jpg off-camera, Barnard College Thesis Exhibition 2021 https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1631645934820-JJM7O2Q79L81EJNXS8GT/Barnard+Senior+Thesis+Show+2021+DSF8244.jpg off-camera, Barnard College Thesis Exhibition 2021 https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1631645953043-YD2RGYPJWPEACDO5KI0M/Barnard+Senior+Thesis+Show+2021+DSF8315.jpg off-camera, Barnard College Thesis Exhibition 2021 https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1631645965707-ILS7TDJ2JSMSXUH3P4MO/Barnard+Senior+Thesis+Show+2021+DSF8359.jpg off-camera, Barnard College Thesis Exhibition 2021 https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1631645962467-1E6J650EBQ8RXKWKXBPS/Barnard+Senior+Thesis+Show+2021+DSF8362.jpg off-camera, Barnard College Thesis Exhibition 2021 https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1631645970624-QV442KST7SHW0MHIHTX6/Barnard+Senior+Thesis+Show+2021+DSF8365.jpg off-camera, Barnard College Thesis Exhibition 2021 https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1631645979415-FXAI4S3X5IKY4NNI8FWT/Barnard+Senior+Thesis+Show+2021+DSF8388.jpg off-camera, Barnard College Thesis Exhibition 2021 https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1631645979906-1Z3077BPWLU3TBEII3PF/Barnard+Senior+Thesis+Show+2021+DSF8431.jpg off-camera, Barnard College Thesis Exhibition 2021 https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1631645989169-AEY83D111EKAXOP4MRR2/Barnard+Senior+Thesis+Show+2021+DSF8488.jpg off-camera, Barnard College Thesis Exhibition 2021 http://www.adawright.com/airsolo daily 1.0 2024-10-23 https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1649645574595-KXNC820P1957G5K4XBI9/justthesurface%2C+Ada+Potter+DSF8668.jpg j u s t t h e s u r f a c e at A.I.R Gallery j u s t t h e s u r f a c e | A.I.R. Gallery | November 19 — December 19, 2021 This exhibition is comprised of multiple series of photographs and sculptures that play with the opacity of images. Interwoven throughout the gallery, these works grapple with the largely invisible labor and narratives embedded beneath an image’s surface. Despite the popular assumption that images tell stories, this work points to the fact that they often obscure as much as they elucidate. Most of the objects present in the exhibition started as images. Chair after ADO toys (2021), for example, stems from a photograph of a chair that intrigued me. After further research, she was surprised to discover that the chair pictured was in fact a toy made on the scale of a dollhouse. Even more intriguing, the toy was fabricated in the Netherlands in the 1930s by young adults recovering from tuberculosis in a sanatorium. While this fraught history is inextricable from the object represented, its image renders the narrative obscure. In my photography, I'm drawn to documenting surfaces, textures, and sites that similarly hold inaccessible stories. The incongruity, absurdity, and banality of minor events are recorded in the image. The photographs show evidence of human presence but never give us access to the hands that left the marks. https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1649645574595-KXNC820P1957G5K4XBI9/justthesurface%2C+Ada+Potter+DSF8668.jpg j u s t t h e s u r f a c e at A.I.R Gallery j u s t t h e s u r f a c e | A.I.R. Gallery | November 19 — December 19, 2021 This exhibition is comprised of multiple series of photographs and sculptures that play with the opacity of images. Interwoven throughout the gallery, these works grapple with the largely invisible labor and narratives embedded beneath an image’s surface. Despite the popular assumption that images tell stories, this work points to the fact that they often obscure as much as they elucidate. Most of the objects present in the exhibition started as images. Chair after ADO toys (2021), for example, stems from a photograph of a chair that intrigued me. After further research, she was surprised to discover that the chair pictured was in fact a toy made on the scale of a dollhouse. Even more intriguing, the toy was fabricated in the Netherlands in the 1930s by young adults recovering from tuberculosis in a sanatorium. While this fraught history is inextricable from the object represented, its image renders the narrative obscure. In my photography, I'm drawn to documenting surfaces, textures, and sites that similarly hold inaccessible stories. The incongruity, absurdity, and banality of minor events are recorded in the image. The photographs show evidence of human presence but never give us access to the hands that left the marks. https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1649643590651-TPE57JFEFMMZSJB82XOX/image-asset.jpeg j u s t t h e s u r f a c e at A.I.R Gallery https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1649643630661-SH88NXBKZTZ1FPTYSBZP/justthesurface%2C+Ada+Potter+DSF8685.jpg j u s t t h e s u r f a c e at A.I.R Gallery https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1649643631416-TNJDLP18EEY5JT3MCLN4/justthesurface%2C+Ada+Potter+DSF8695.jpg j u s t t h e s u r f a c e at A.I.R Gallery https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1649643674668-MIDNZS63SQNF9IYO1EDF/justthesurface%2C+Ada+Potter+DSF8778.jpg j u s t t h e s u r f a c e at A.I.R Gallery https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1649643665333-JIRJPQU61LST6O5DHOJW/justthesurface%2C+Ada+Potter+DSF8740.jpg j u s t t h e s u r f a c e at A.I.R Gallery https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1649643667433-SBAAI05IHHCUO08IN90B/justthesurface%2C+Ada+Potter+DSF8771.jpg j u s t t h e s u r f a c e at A.I.R Gallery https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1649643643839-MR7D8MI2KLWCKZN7VZLU/justthesurface%2C+Ada+Potter+DSF8704.jpg j u s t t h e s u r f a c e at A.I.R Gallery https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1649643640081-E53M47FC7WXJ2LWMJIFJ/justthesurface%2C+Ada+Potter+DSF8701.jpg j u s t t h e s u r f a c e at A.I.R Gallery https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1649643653497-90R0HV7TRPZLZNW1BYLZ/justthesurface%2C+Ada+Potter+DSF8724.jpg j u s t t h e s u r f a c e at A.I.R Gallery https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1649643656974-B6582XQD2278NIW7A7U3/justthesurface%2C+Ada+Potter+DSF8730.jpg j u s t t h e s u r f a c e at A.I.R Gallery https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1649643676946-9BV262H2IE8ITH96AU7Q/justthesurface%2C+Ada+Potter+DSF8784.jpg j u s t t h e s u r f a c e at A.I.R Gallery https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1649643684844-DBRVAHYMMUC1DKEIDS4I/justthesurface%2C+Ada+Potter+DSF8795.jpg j u s t t h e s u r f a c e at A.I.R Gallery https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1649643686030-NH2LLPT1PG8PE790YXY0/justthesurface%2C+Ada+Potter+DSF8815.jpg j u s t t h e s u r f a c e at A.I.R Gallery https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1649643694243-GXNEYQ16F75X6S9YFFTL/justthesurface%2C+Ada+Potter+DSF8838.jpg j u s t t h e s u r f a c e at A.I.R Gallery https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1649643694963-22ZIWRFUBG6K72INXPAT/justthesurface%2C+Ada+Potter+DSF8852.jpg j u s t t h e s u r f a c e at A.I.R Gallery https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1729699996496-L94OKUOIA2VSXMC25B9R/apotter-solo-5.jpg j u s t t h e s u r f a c e at A.I.R Gallery https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1729700004556-BKJGJRMYGNXW8C2XVE38/apotter-solo.jpg j u s t t h e s u r f a c e at A.I.R Gallery https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1729700032650-3TUN6DXNVU93I6D5QPRB/apotter-solo-2.jpg j u s t t h e s u r f a c e at A.I.R Gallery https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1729700002538-182KXD9OV4FZ5W51M03Z/apotter-solo-11.jpg j u s t t h e s u r f a c e at A.I.R Gallery https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1729700004915-ZB6E55OX38U1ZYQCU3GB/for+web+apotter-solo-9.jpg j u s t t h e s u r f a c e at A.I.R Gallery https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1729700003584-V4Y8WN6722MS25OUCJQI/apotter-solo-12.jpg j u s t t h e s u r f a c e at A.I.R Gallery https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1729700001151-6UQ27N19LRU69YB5XS36/apotter-solo-10.jpg j u s t t h e s u r f a c e at A.I.R Gallery https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1729699999131-QATCS68O69ADY7XFZLBG/apotter-solo-8.jpg j u s t t h e s u r f a c e at A.I.R Gallery https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1729699994812-E206X07WU7SGMN1YNKAH/apotter-solo-3.jpg j u s t t h e s u r f a c e at A.I.R Gallery https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1729699995284-IE7BCACHP7SUF8CJ63B9/apotter-solo-4.jpg j u s t t h e s u r f a c e at A.I.R Gallery https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1729699996912-S21SUGPBEO2WEJ82BOHO/apotter-solo-6.jpg j u s t t h e s u r f a c e at A.I.R Gallery https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1729699998072-GJAQQOP0O2PK8OPE4JMB/apotter-solo-7.jpg j u s t t h e s u r f a c e at A.I.R Gallery http://www.adawright.com/parts-labor-residency daily 0.75 2024-05-22 https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1716395837892-WPSZ06LLCYH7DRHUTYSB/_DSC2503.jpg Parts & Labor Residency https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1716395837892-WPSZ06LLCYH7DRHUTYSB/_DSC2503.jpg Parts & Labor Residency https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1716399249760-ZDMJPGQT933JTFIOI1L3/_DSC2503.jpg Parts & Labor Residency This project started with a found image of a hooked rug made in America in the 1870s. These craft projects were made with industrial-produced tin patterns. They became popular as the textile industry industrialized allowing for a rise in factory-made textiles and clothes. This fact that a homemade craft was undergirded by industrialization muddies the supposed purity of craftwork. This also points to the rise of leisure and hobby culture for women of a certain class and racial subset. The project is based on that initial image of a handmade rug that I transferred and duplicated via rubbing and printing with laser-cut plates. The project was installed in a shed during my residency at Parts & Labor in San Antonio. https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1716395862527-FN1KYI9EZBDWSZM07XZS/_DSC2509.jpg Parts & Labor Residency https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1716395868224-OF66JX5HAQRC05TJNOS3/_DSC2535.jpg Parts & Labor Residency https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1716395870136-2YN9I8HTK9R2G1QE579U/_DSC2541.jpg Parts & Labor Residency https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1716395880095-G52M3MC4MPBUZ9JN1OL4/_DSC2545.jpg Parts & Labor Residency https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1716395887694-BVZ82BQPBV2416OVW2A5/_DSC2560.jpg Parts & Labor Residency https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1716395880666-4ASMPE9DRQPX2M7NPL5A/_DSC2554.jpg Parts & Labor Residency https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1716395886590-4UI1VD9O60319O4131V4/_DSC2558.jpg Parts & Labor Residency https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1716395891871-2TNGEDXOZFW86G00I2PA/_DSC2502.jpg Parts & Labor Residency https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1716395896638-A51V7RFTQWDNJJ57DOY7/_DSC2518.jpg Parts & Labor Residency http://www.adawright.com/resume daily 0.75 2025-01-31 http://www.adawright.com/garden-level daily 0.75 2024-05-23 https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1539096373513-JH0NZQE9KZNUA02T4OTU/Garden_Level_DSF1844_Low_Res.jpg GARDEN LEVEL https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1539096386827-XX0TZD7V8H81J71A93PF/Garden_Level_DSF1915_Low_Res.jpg GARDEN LEVEL https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1539096391291-6YHLYD48KM3DPWPN352G/Garden_Level_DSF1999_Low_Res.jpg GARDEN LEVEL https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1539096396617-5LS46IT32CGBD86834BN/Garden_Level_DSF2012_Low_Res.jpg GARDEN LEVEL https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1539096378908-M4PQLTVR9Q8L4445469F/Garden_Level_DSF1870_Low_Res.jpg GARDEN LEVEL https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1539096509405-6Q1RU7H78MFXMIIMU40H/Garden_Level_DSF2078_Low_Res.jpg GARDEN LEVEL https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1539096401770-CESYDN5GP0IDTPC2WTCP/Garden_Level_DSF2018_Low_Res.jpg GARDEN LEVEL https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1539096492031-V6VYHSVQON53D830RDPU/Garden_Level_DSF2028_Low_Res.jpg GARDEN LEVEL https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1539096380053-L9RCZ8PTEUV06MTTZZUV/Garden_Level_DSF1860_Low_Res.jpg GARDEN LEVEL https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1539096495494-TFCOY0RAAB83JEWE9MQD/Garden_Level_DSF2034_Low_Res.jpg GARDEN LEVEL https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1539096503284-J2S1PIBX06CP456CR1RK/Garden_Level_DSF2040_Low_Res.jpg GARDEN LEVEL https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1539096516562-NYGKX88V9EGT2NV1RL6T/Garden_Level_DSF2186_Low_Res.jpg GARDEN LEVEL https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1539096513733-I9F6F5O7V244SVQ2M8L2/Garden_Level_DSF2099_Low_Res.jpg GARDEN LEVEL https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1539096517761-E3BBPFTT3CAS1CW9PFY2/Garden_Level_DSF2236_Low_Res.jpg GARDEN LEVEL https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1539096485018-BQ55S6M3A70UBQF5VKWA/Garden_Level_DSF2016_Low_Res.jpg GARDEN LEVEL https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1539096373236-7J2SKHIO7TLHET2JOF51/Garden_Level_DSF1805_Low_Res.jpg GARDEN LEVEL https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1539096500306-EEBITWQY9JHHXFHN8O41/Garden_Level_DSF2071_Low_Res.jpg GARDEN LEVEL https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1539096383253-HU6L8WE4W5CLGV1YMHGI/Garden_Level_DSF1884_Low_Res.jpg GARDEN LEVEL https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1539096381077-O2R2KBMR3SGOBLKUJ268/Garden_Level_DSF1879_Low_Res.jpg GARDEN LEVEL https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1539096396560-KRGOUJHN5L2T3Y3HNP93/Garden_Level_DSF1924_Low_Res.jpg GARDEN LEVEL https://images.squarespace-cdn.com/content/v1/5288fda6e4b0ce5ab82741ab/1539096384407-0EPKBYPK5FKB2BA5TMGL/Garden_Level_DSF1897_Low_Res.jpg GARDEN LEVEL