Longhand gathers four artists whose work insists on the hand. Every surface in the show carries the time it took to make: fiber dyed and woven strand by strand, botanical forms drawn at the scale of the body, photographs cut into cloth or pulled as prints. The title borrows from writing done the slow way, where the mark and the person who made it cannot be separated.
The word holds a second meaning here. Longing runs through this work: for landscapes at a distance, for what memory keeps and blurs, for the slower time these processes require. To work in longhand is to stay with something, and staying with something is close to missing it.
The exhibition arrives in a moment when images are generated in seconds. These works answer with hours. Liz Robb dyes and weaves her fiber sculptures by hand, building dense, tactile forms that record every pass of material through her fingers. Linda Simmel works at large scale in drawing and painting, following botanical subjects with a patience that reads in every line. Naomi Livia pairs her desert photographs with hand weavings, layering the two so the printed landscape and the woven surface answer each other. Georgina Reskala’s prints hold their subjects at the edge of legibility, the way memory holds a place you cannot return to. Together,https://upstartmodern.com/show/upstart-modern-longhand the four make a quiet argument: that care is visible, that attention leaves a trace, and that the hand remains the most sophisticated instrument we have.
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