Victoria Burge | New Editions

  

Composition A & Composition B, 2020 
EDITION: 10 
2 color etchings 
Composition A, soft ground and sugar lift Composition B, soft ground and aquatint  on hand drilled plate 
16 5/8th x 13 3/8th inches each 
PRINTER: Wingate Studio, Hinsdale, NH
PUBLISHER: Planthouse  
Night Architecture, 2020
EDITION: 200
3-color silkscreen on Coventry Rag
20 x 16 inches
PRINTER: Powerhouse Arts, Brooklyn, NY
PUBLISHER: The Print Club of New York 
 

Metric, 2020 
EDITION: 10 
Relief printed embossment 
13 5/8th x 10 5/8th inches 
PRINTER: Zea Mays Print Studio,  
Northampton, MA 
PUBLISHER: Artist 
 
Study I, 2020 
Drawing, ink and colored pencil on gesso PAPER: Rives BFK 
16 x 13.25 inches (framed dimensions) 

Grid Variation V & VI, 2019
VARIED EDITION: 20
Pulp paint on abaca and linen with hand color
14 x 11 inches
PRINTER: Dieu Donne, Brooklyn, NY
PUBLISHER: Planthouse
Grid Variation V & VI, 2019 
VARIED EDITION: 20 
Pulp paint on abaca and linen with hand color 14 x 11 inches 
PRINTER: Dieu Donne, Brooklyn, NY 
PUBLISHER: Planthouse 
Grid Variation V & VI, 2019 
VARIED EDITION: 20 
Pulp paint on abaca and linen with hand color 14 x 11 inches 
PRINTER: Dieu Donne, Brooklyn, NY 
PUBLISHER: Planthouse 
 
Night Architecture, 2020
EDITION: 200
3-color silkscreen on Coventry Rag
20 x 16 inches
PRINTER: Powerhouse Arts, Brooklyn, NY
PUBLISHER: The Print Club of New York 
 
Cirrus, 2017
4-color Screenprint with embossing on Hahnemühle Copperplate paper
Paper size 19.5 x 22.5 inches; image size 15.5 x 19 inches
Edition of 26
Printed by Brad Ewing and Marco Lawrence 

 

Victoria Burge | New Editions
December 3, 2020 – January 17, 2021

Click here to view the checklist.
Click here to shop the exhibition

Planthouse is pleased to announce Victoria Burge: New Editions, an exhibition featuring four recent editions from 2019 and 2020. Grounded in the structure of the grid and the concept of graphic notation,  Burge’s new work explores the ways in which visual codes of line, space, and repetition in everyday contexts constitute an infinitely translatable language

The drawn or printed lines between points in Burge’s imagery evoke stitched threads, sound waves, and organic forms such as fractured light, cobwebs, and neural pathways. Found diagrams from the 19th and  20th centuries—including maps, weavers’ draft notations, and musical scores—frequently provide a  substructure for Burge’s drawings and prints, in which she translates and transforms their data to generate invented patterns.  

In Night Architecture, threadlike lines connect scattered points of light on an opaque black ground. Built on the concept of the warp and weft, the vertical and horizontal axes used in weaving, Night  Architecture unites Burge’s previous explorations of celestial cartographies with her recent research into the repeat patterns and coded notations used in textile design. 

Metric is the graphic trace of a piece of music. Burge converts the notes through several stages of translation—she first makes a drawing, from which a vector image is created. The vector image is then used to produce a laser-cut plate that prints the notes as raised white orbs on a black ground. The resulting image is a systematic arrangement of the visual rhythms and measured cadences found in musical notation. 

For Grid Variation I-XX, created with Dieu Donné in Brooklyn, New York, Burge developed a laser-cut mylar stencil of 396 circles within a square grid. Each hand-made paper piece within the edition is composed of a different combination of circles from this stencil. On top of each image, Burge made a  unique drawing using pencil, graphite, and opaque inks. The repeated circles’ uniform seriality lends a  structured order to the subtle irregularities of the hand-drawn elements. 

Composition A and Composition B, printed by Wingate Studio in Hinsdale, New Hampshire, employs the same method of using circles from a grid to generate a pattern, with the points connected geometrically by straight, pencil-thin lines. The pairing of soft-ground etching and sugar-lift in Composition A produces a contrast between the delicate lines and the bold, graphic points. In  Composition B, the white points are created by hand-drilling holes in the copper plate so that, when printed, the white of the paper is untouched in those spots.  

Victoria Burge’s works are in the permanent collections of the Metropolitan Museum of Art, the Philadelphia Museum of Art, the New York Public Library, the Smithsonian American Art Museum, the British  Museum, and the Los Angeles County Museum of Art. She is a recipient of a Pollock-Krasner Foundation Grant and has been awarded fellowships by MacDowell and the Josef and Anni Albers Foundation.

 

Gallery Hours
Tuesday-Saturday 12-6 PM – By Appointment – info@planthouse.net