SAM LEWITT

The work in this exhibition is collated into several groups of graphic matter derived from a source assortment of elements that are variously reproduced, displaced and situated as a display. The formal strategies of graphic depiction that are here deployed comports this material in a manner not unlike choice elements retrieved from the dustbin of a defunct printer’s shop; and much of the source material for this work was acquired from such establishments.Portfolio cases are displayed on pedestals within the gallery. As framing and storage equipment, these objects suggest themselves to a collected content making a momentary appearance. Paper–its role as support, its propensity to effacement, to abstraction and inscription - provides the model for such a thing as will be written, and read, out of existence. What exists in the hold of the portfolio often includes a memory for which the pulp of an unstable pH commingles freely with the acid-free backing of a durable existence. Document holding devices serve as an exemplary case for value’s heteronomy: singular products potent with the prospect of accruing a speculative surplus value convene with industrially printed paper. The storage logic of the portfolio facilitates an equivalency of value for its contents. But this with the trait of holding for posterity those moments when paper returns to view as an unsettled support, one for which the efficacy of images is fossilized into a fetish. Bordering these open cases: The work in Monograms is cobbled together around two tools for alphabetic inscription derived respectively from the realms of material production and exchange. Ink drawings of an image of two pens, clipped from a newspaper advertisement and re-scaled to approximate actual size, are multiplied and composed into iterations of their physical spacing with regard to one another. These images are manually re-produced using the ink that they ostensibly contain, traced and filled-in, excluding only logos and corrections to coherently pictured depth. These find counterparts in a series of photograms made using reams of outmoded, industrial ‘Phototype’: long film negatives which have entire font families printed on them. The receding graphic/alphabetic symbols that are piled here index a material support for language–one made visible on condition of the enervation of communicative signs.