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ADAA Art Show
Park Avenue Armory, New York
5 - 9 March 2014
5 - 9 March 2014 - Park Avenue Armory, New York - ADAA Art Show - Exhibitions
5 - 9 March 2014 - Park Avenue Armory, New York - ADAA Art Show - Exhibitions
5 - 9 March 2014 - Park Avenue Armory, New York - ADAA Art Show - Exhibitions
5 - 9 March 2014 - Park Avenue Armory, New York - ADAA Art Show - Exhibitions
Press Release

We are very pleased to announce our participation in the upcoming ADAA Art Show 2014 with a solo presentation of new work by Analia Saban.


This new body of work exemplifies Saban's dynamic exploration of materials and expansion of painting, linking art and the domestic space. Dealing with issues of time, memory, fragility and balance, Saban's connection with everyday objects is brought to the forefront through an investigation of tangible materials and the metaphysical properties of artworks. As a starting point for the presentation, Saban takes a decommissioned chair and readdresses it as an unconventional palette for painting. Stretching raw canvas across the back to form a new frame, Saban highlights and re-imagines the traditional act of stretching canvas, while elevating the inspiration of the domestic - including cushions disguised as blank canvas and crayon rubbings over coils that reveal an elegant pattern of repeating circles from underneath the surface.


In other works, Saban uses imagery taken from various mechanical systems, circuit boards, and architectural drawings, to examine and deconstruct the mechanics of internal parts. The pocket watch and circuit boards are formed through a laser sculpting technique, which Saban employs to subtly carve out images from the surface of her paintings. This precise technique offers a thoughtful contrast between the man-made properties of the painted canvas - gestural brushstrokes are still visible - and living natural qualities of wood. 


A white bulging painting, filled with gallons of encaustic wax, by contrast, is the tangible embodiment of the artist's theory that a painting can be simply "a container of paint." Saban further explores materiality through a new concrete and glass work in which the glass acts like a window into a painting. Looking through the surface, the middle and backside of the canvas, you can literally see, layer by layer, the guts of the painting. Conceived as an ongoing investigation into the process of sculpture, Saban hints at art's playful qualities, in an ironic nod to the domestic - a house of cards built out of marble blocks. A sense of unease governs the tenuous quality of an ever-changing and variable installation, this "house" is simultaneously strong, yet fleeting and transient.

Saban uses traditional materials associated with sculpture and painting — stone, wood, paint, canvas — but her work always hovers somewhere between the two territories. Simultaneously familiar yet strange, personal yet universal, formally traditional yet unconventional, this new body of work exemplifies Saban’s interest in dissecting the process of art-making as well as elevating and challenging her materials.