|Dimensions||29.7 x 21 cm|
|Top pick||Edward Lee, collector|
About the work
Analia Saban has long experimented with art materials, including printer’s ink. Commonly applied thinly, such as on newsprint, the artist instead applies it in a thick layer onto which she places a thin sheet of laser-cut paper. Instead of the usual “ink on paper,” here the drawing is rendered as “paper on ink.” The filigree-like paper is cut into a design simulating computer circuit boards. As the ink dries, it interacts with the paper and assumes various shapes and textures. Both printer’s ink and circuit boards relate to the flow of information, both via the printed page and the 1s and 0s of binary code.
About the artist:
Born 1980 Buenos Aires, Analia Saban lives and works in Los Angeles. Graduated from BA Studio Art, Loyola University, New Orleans (2002); and MFA New Genres, University of California, Los Angeles (2005).
Saban works across a broad spectrum of mediums exploring how art objects are conceived, constructed, and understood. Her paintings, sculptures, photographs and works on paper are deeply engaged with the basic tools of art-making. While she uses traditional materials, she completely rethinks the concept of what an artwork physically entails. In so doing, she consistently expands viewers' expectations of what might constitute a “painting”, “sculpture”, or “drawing”, offering inventive hybrid forms that complicate such categories. Saban's work remains in dialogue with modernist legacies, and at the same time deconstructs artistic conventions, introducing elements of craft, design, and everyday materials.
Selected solo exhibitions include FOCUS: Analia Saban, Modern Art Museum, Fort Worth (2019); Analia Saban: Canvas on Paint, Qiao Space, Shanghai (2017); Analia Saban, Blaffer Art Museum, Houston (2016); and Analia Saban: Is this a painting?, Armory Center for the Arts, Pasadena (2014). Selected group exhibitions include Ground/work, Clark Art Institute, Williamstown (2020); Dirty Protest, Hammer Museum, Los Angeles (2019); Art Safiental 2018: Horizontal-Vertical, Safiental, Safien Valley (2018); NGV Triennial, National Gallery of Victoria, Melbourne (2017); L.A. Exuberance, Los Angeles County Museum of Art (2017); Good Dreams, Bad Dreams – American Mythologies, Aïshti Foundation, Beirut (2016); NO MAN'S LAND, Rubell Museum, Miami (2015); An Appetite for Painting, Museum of Contemporary Art, Oslo (2014); Le Club des Sous l'Eau / Nouvelles Vagues, Palais de Tokyo, Paris (2013); and Made in L.A. Biennial, Hammer Museum, Los Angeles (2012).
Awards include Getty Research Institute, Artist in Residence, Los Angeles (2015-2016); and Rudin Prize for Emerging Photographers, Miami (2012).