Three Lessons About Art on Paper

Three Lessons About Art on Paper

Review of Shanthi Chandreskar's installation for Projects program at fair

Most impressive to me of the sculptural works is Shanthi Chandrasekar’s “Entropy: Macrostates & Microstates.” Near the top of the hanging piece are a set of large circular disks populated with holes of varying sizes. Hanging from those disks are smaller disks made from the punched out holes — and the disks hanging off them subsequently iterate accordingly. 

Chandrasekar, who didn’t formally study art but studied physics and psychology, says that from a young age she was drawn to the quotidian delights of the hole punch. “I loved the leftover negative space,” she explains. 

“The more I worked, the more I got to understand the medium, in terms of not using pencil or anything else other than a piece of paper and a hole punch. I loved every bit of the paper I was punching,” she says, relating her process and the finished product with entropy. Meticulously saving each piece of paper that she punched out, she says, “is entropy at different levels; change happening. It’s the disintegration of a sheet of paper — dissipating energy.” As I follow that dissipation to the ground, I note the piles of infinitesimal debris at our feet. “It all comes down to this. After this, you can’t go any further,” Chandrasekar laughs. 

“It’s also a remnant of my childhood — growing up by the sea, and coming to this country, and the snow, the rain, the leaves,” she says. As an aside, she adds that she wasn’t too strict with herself about calculating the number of holes in each disc, but that “prime numbers” have the tendency to “go wild.” Critical to the sculptural pleasure (and attendant creative envy) of these works is the pleasure of intricacy in a familiar medium that many of us engage with only haphazardly and instrumentally.

Art on Paper 2022 to Unfold With Strong Gallery Participation

Art on Paper 2022 to Unfold With Strong Gallery Participation

Article highlights Shanti Chandrasekar installation and LAMINAproject

Art on Paper, New York's paper-based contemporary art fair, will return to Manhattan's Pier 36 from 8 to 11 September.

Eighty-seven galleries are taking part this year, a significant leap up from 67 in 2021.

'The fair has always had a notable international component, but many of those galleries were not able to join us in 2021 due to travel restrictions,' said Kelly Freeman, Director of AMP Events, which organises the fair. 'With the reopening of borders, we've been able to welcome back more of these incredible programmes.'

'Art on Paper is inherently a remarkable opportunity to access the global art market during New York City's Armory Week, and as such, the fair has a dedicated audience that returns year over year to support exhibiting programmes and artists,' she added.

Freeman said she was especially excited to spend time with the public projects programme devoted to female makers.

Among the works by women are a mobile comprising repurposed waste paper 'cookies' by New York-based Japanese ceramicist and designer Yuko Nishikawa that will be suspended in Art on Paper's central lounge. Nearby, Wook+Lattuada (New York) will present NYU professor emeritus Angiola Churchill's Labyrinth, an installation of suspended paper walls with cut out labyrinthine patterns.

LAMINAproject will present compelling new work by Amie Esslinger, Michal Gavish, and Jody Rasch at VOLTA New York

LAMINAproject will present compelling new work by Amie Esslinger, Michal Gavish, and Jody Rasch at VOLTA New York

Some of the most innovative artists working today are fusing art and science and taking inspiration from science. LAMINAproject−a gallery/platform devoted to art/science−showcases artwork by emerging and established artists that integrates ideas, images and metaphors of science to convey fundamental truths about the world and explore different characteristics of art-science relationships. LAMINAproject’s artists not only show the beauty of science, but also communicate how these images relate to and help us see beyond our daily existence. As expressions of both the patterns of the natural world and the metaphors underlying modern science, their art allows us to see beauty in the repulsive, to find knowledge in the unknown, and to observe the unseen to more clearly see our world. By exploring the invisible, Esslinger, Gavish, and Rasch invite the observer to look beyond the “seen” to appreciate the beauty and mystery of the “unseen.” 

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