Yancey Richardson Gallery is pleased to present Broken Latti ce\, the third solo exhibition at the gallery by Bryan Graf. By using found objects\, low-fi processes\, and an experimental approach to materials\, G rafʼs photographs and assemblages explore the opposing forces of control an d  chance through methods of repetition\, inversion and accumulation. Most of the works in the exhibition were produced as unique\, camera-less photog rams\, a process by which Graf can exert certain constraints while leaving other elements beyond his control.
The artist explains his way of seei ng thusly: “As I write this correspondence\, the blind is down\, covering t he window to the right of my desk. The window is open and the screen projec ts a moiré-patterned shadow onto the fabric of the blind. This image fluctu ates in and out of focus as it breathes with the wind. The lattice outside the opposite window is bending\, warping under the weight of nature. And at this late\, subterranean time of day the distinction between the orderly f ramework of the lattice and the entangled labyrinth of Wisteria vines is un clear. The two structures are blending into one another\, forming a solid i nky mass outside the bay window of my studio. This impression lasts for a f ew moments before sinking into the night. Focus. The screen is a filter – a grid maintaining repetition\, order and control. Folded\, warped and tangl ed\, it creates visual noise\, disturbances and interference. It becomes a dragnet\, a visualization of chance-based actions within a repetitious stru cture. The grid is a lattice\, a support system for nature\; being constant ly broken and sculpted by the persistent and omnipresent activity of the na tural order.”
The structure of the lattice fence in relation to the or ganic tangle of wisteria vine serves as the conceptual basis and visual met aphor for Grafʼs new work. He often uses mesh as an agent to illustrate the force of structure\, though he deliberately undermines the orderly nature of the >\;mesh by staging situations where chance controls its visual out put.
Grafʼs Shot/Reverse Shot\, for example\, is a series of diptychs consisting of a Polaroid and a photogram. The flash from the camera creates a Polaroid self-portrait\, simultaneously exposing a sheet of light-sensit ive paper\, creating the photogram. This series is a disassembling process – as Graf makes the photogram he is documenting the making of the photogram . In Random Walk\, Graf recalls the Surrealist practice of automatism\, pla cing found objects directly onto light-sensitive paper to create gestural a bstractions with light from a cellphone and color filters. In Lattice (Ambi ent)\, Graf again places mesh directly on paper and creates photograms with a hand-held flash. In these latter two series\, the intuitive gesture of t he artistʼs hand creates the image\, but only after it has been filtered th rough the mesh and other accumulated objects.
Bryan Graf lives and wor ks in Portland\, Maine and New Jersey. He received an M.F.A from Yale Unive rsity in 2008 and a B.F.A. from the Art Institute of Boston in 2005. His wo rk was recently featured in Second Nature: Abstract Photography Then and No w at the Decordova Sculpture Park and Museum\, and will be on display this spring in The Polaroid Years: Instant Photography and Experimentation at th e Loeb Art Center at Vassar College. Conveyor Press released his first mono graph\, Wildlife Analysis\, in March 2013.

LOCATION:Yancey Richardson Gallery\,525 W. 22nd St. \nNew York\, NY 10011US SUMMARY: Broken Lattice\, Bryan Graf END:VEVENT END:VCALENDAR