From a trio of small-scale silkscreen prints produced with Haft-Candell that capture imagery from a series of “flip books” she created from multiple, small-scale watercolors. Depicted within the series of books are her familiar vocabulary of forms; knots, combs, braids, chains, and loops. For the artist, each of these symbols carry both social histories and personal memories, and they appear repeatedly across her ceramic sculptures and works on paper.Often Haft-Candell’s ceramic work appears to teeter between motion and stasis; forms appear ready to fold up on themselves, or perhaps stretch apart. Using the flip-book structure, Haft-Candell is able to offer these forms a looped movement through their illustrated animation. Three such illustrations have been selected for this print series and behave almost like film stills.
Julia Haft-Candell (b. 1982, Oakland, CA) is a Los Angeles-based artist working in ceramic sculpture. Haft-Candell received a B.A. from University of California, Davis before graduating from the MFA program at California State University, Long Beach in 2010. She spent a summer residency in 2016 at the Skowhegan School of Painting & Sculpture, Madison, ME, and has been awarded multiple grants from the Center for Cultural Innovation and most recently the California Community Foundation Fellowship in 2019. Recent exhibitions include A Soft Grid at Candice Madey, New York, New York and Interlocking at Night Gallery, Los Angeles, CaliforniaFocusing on a litany of historically resonant lines and patterns, Haft-Candell uses recurring symbols containing adaptable meanings to speak to a greater philosophical understanding of the familiar. In Julia’s words: “I work intuitively—my pieces are expressive, yet rooted in a conceptual framework that questions language, semiotics, identity, and gender. These new sculptures refer to symbols of intersection, such as hands interlocking, a foot stomping on mud, or water slipping between fingers.”
Read More
Our typical framing practice is to float mount prints with 1-inch of space around the print. This is a method of framing that keeps the art fully visible in the frame and leaves the edges of the cotton papers exposed. A spacer is added to the frame to keep the artwork from touching the plexiglass. Float mounting requires adhering the print to an acid free foam core back or mat board using acid free linen tape.UV-filtering plexiglass is used for all frames, an option that has become the industry standard. Plexiglass is lighter, scratch-resistant & shatter-resistant (essential for shipping). It also provides more UV protection and less glare than glass. Standard Framing – We work with online framing company Simply Framed to offer three standard framing finishes; White, Natural and Black. For those interested in different finishes beyond these three, they can view the full selection of Simply Framed options and email us prior to purchase, allowing us to provide a quote and finalize arrangements. More about the Standard Framing processPremium Framing – We work with Boston-based fine art framers, Adjective Art & Framing to select specific framing options for each of our invited artist editions. Adjective builds custom-made contemporary hardwood frames for artists, collectors, galleries, and museums. Their standard line of moldings are milled from sustainably sourced hardwoods (often Ash, Maple, Walnut or Cherry) that are then custom stained or lacquered. Adjective backs all their frames with sturdy wooden strainers, reinforcing their structure and allowing their profiles to be narrower - an elegant way to present contemporary prints. For those interested in different finishes beyond those we’ve selected, they can view the full offering of finishes from Adjective and email us prior to purchase, allowing us to provide a quote and finalize arrangements. More about the Premium Framing Process
More information about Custom Framing
