"Titled "Puffer (Patagonia, Nero Marquina)," it's a hyper-realistic sculpture in black Nero Marquina marble, carved by both robotic technology and human hand. It's a bridge across technology and time, referencing the material of ancient sculpture and the subject of modern fashion. Here it also functions as an encouragement, or maybe a warning, to look closer, find material friction, and be ready for anything."
"Three large orange paintings are a visual magnetic pull into the first room. Each titled "Woven Three-Blade Fan (Fluorescent Orange)," Saban creates the works by weaving long dried snakes of orange acrylic paint with threads of linen using a loom. The most basic idea of "paint on canvas" now becomes a single material-hybrid of the two, with a subtlety of gradation that defies the rigid binary grid system of a loom."
"Analia Saban's artwork was the first to introduce me to the historical connection between looms and computer code with her 2018 exhibition Punched Card, exploring the fact the computer language of ones and zeros originated from earlier loom technology. For these new near-glowing orange works, the press release notes that they "evoke the energy and heat generated by the massive servers that power today's digital networks.""
Analia Saban's Flowchart at Tanya Bonakdar Gallery in New York pairs hyper-realistic sculpture with experimental woven paintings. A black Nero Marquina marble puffer jacket is carved by robotic technology and hand, bridging ancient sculptural material and modern fashion while inviting close inspection of material friction. Three large fluorescent orange works are woven from dried acrylic paint and linen threads on a loom, creating a material-hybrid that subverts the loom's binary grid. Saban foregrounds the historical link between looms and computer code, with the orange works evoking the energy and heat of massive servers. Nearby black works resemble chalkboards formed by scratching into black oil stick.
Read at Design Milk
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