![]() The multi-part array of assembled objects that range across one wall of the gallery are made from scraps of ordinary-looking plaster or stone, shards of emerald-colored glass, or bits of ceramic. The elements of Amy Sacksteder’s body of work in The Small Details are more concrete-sometimes literally-and often depend on the juxtaposition of disparate materials unified by color in mini-installations. Photo courtesy of U-M School of Humanities Gallery. She has moved off-planet and into a universe of her own making.Īmy Sacksteder, Interruptions: The Other Side of Light/2017, Silver leaf and acrylic on hand-cut paper, custom pedestal. With pieces like Green Fling and Sunburst Singletary’s transition to pure free-form abstraction is complete. Bow Tie and The World Turns extend the process of deconstructing the format, though she continues to embed found objects: soda can tops, bits of credit cards, and the like. In Human Moment, the artist pulls the colorful nonfigurative imagery away from the rectangular ground and applies it to a wire armature that allows more freedom of movement for her breezy painting. Her addition of these figurative elements is typical of a trend among young Black artists by inserting African-American figures into the narrative of art history through their work, they aim to provide a corrective for previous exclusion.īut Singletary’s heart (it seems to me at least) belongs to abstraction, and with her increasingly free-form, cloud-like wall pieces she begins to take flight. Several of her artworks also feature vintage cutout photos of her family superimposed onto her abstract paintings. ![]() The Detroit native-now living in Toledo, Ohio-begins with paintings in relatively conventional rectangular formats as seen in Faith Hope and Charity and Tropical Winds. These nonrepresentational yet evocative artworks feature airy, gestural paint handling in decorative colors, punctuated by thin black hieroglyphic lines of mysterious origin and meaning. Through accretion, addition, and accumulation Amy Sacksteder and Brenda Singletary conjure meaning from bits and pieces-ceramic and glass shards, wire, photos-assembling personal narratives that are highly specific in their material, but universal in their intent.īrenda Singletary’s artworks occupy two walls of the gallery and offer a guided tour of her evolving formal means. ![]() It all adds up in The Small Details, a two-person exhibition on view now through July 29 at the Institute for the Humanities Gallery in Ann Arbor. Brenda Singletary, The World Turns, 2022, assemblage, 8” x 7” x 3”. ![]()
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