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Unsettled Surfaces

Amy Lange

Tracy Longley-Cook

William Winter

November 1-26, 2019


Amy Lange - Flyover

Thousands of feet, or thousands of miles above the surface of a planet, the landscape is an abstraction. Rivers are etched lines, mountains are like rumpled blankets, giant craters become faces. Light and shadow flatten. The surface of our world carries the familiar markings of human activity--geometric boundaries as signs of settlement, conquest, containment. But with time, these boundaries will melt away as weather, geology, asteroids, extinction, or climate change slowly chip away at our human influence. Scientists say Mars was once like Earth--the images sent back from visiting satellites suggest evidence of liquid water, now long evaporated. Maybe one day we’ll stand on Mars, its surface no longer a series of shapes and lines, but an environment. A wilderness. A settlement.


Amy Lange is an artist based in San Francisco, California. She is a native of the west coast, having grown up half her life in the San Francisco Bay Area and the other half in rural Central Oregon. She received her BFA in Fibers from the University of Oregon in 2009, and received her MFA from California College of the Arts in 2017. She works in the education department at SFMOMA and is a founding member of Borderline Art Collective in San Francisco.


Amy Lange makes objects, images, and installations inspired by the surfaces of other worlds. She uses repurposed textiles as a jumping-off point to create work that encompasses the viewer, cobbling together landscapes or skyscapes which feel both familiar and dissociative.


Tracy Longley-Cook - Topographies

In this series of photographs, I am exploring the relationship between the personal and

geographical landscape. Utilizing my body and photographic chemistry to create a series

of unique images on film, this work mimics aerial landscape photographs, where scars,

hair or wrinkles are reduced to black and white lines that emulate land and water

formations. A symbolic correlation is drawn between the earth's surface, which reveals

a record of natural and man-made alterations, and the body as a record of individual



Like the human body, the geographical terrains we physically inhabit reveal the residue

of experience, age, and change. Skin is a primary reflection of a person as it denotes

maturity, injuries, cultural identity, wellbeing, and identity. Blood, teeth, and hair

provide evidence of our individuality, and a means to navigate distinct aspects of our

personal histories. Similarly, the surfaces of various terrains within the landscape offer a

comparable record of the earth’s changing topography. Natural and human alterations,

both gradual and immediate, modify and transform environments over time. Our

geographical surroundings, like our bodies, are etched with a narrative of its own


The method of imprinting fragments of the body on film is a cameraless process.

Photographic chemistry is placed directly on the skin, and then pressed onto film before

exposing it to light, or artifacts from the body are collected and placed in an enlarger

and exposed onto film. The resulting negatives are then scanned, cropped and printed

as large-scale digital prints revealing abstracted impressions detailing the physical body.


Tracy Longley-Cook has her BFA and MFA in photography from the University of Washington (1997), and Arizona State University (2007), respectively. Tracy also studied at the Maine Photographic Workshops residency program from 1994-95. Currently, she is an Associate Professor of photography at Wright State University in Dayton, Ohio.


Tracy’s work has been exhibited at Tilt Gallery and the Rayko Photography Center, and publications include Manifest Gallery’s 2012 International Photography Annual, and the Elements of Photography, 2nd edition by Angela Faris-Belt. Tracy’s interests as a visual artist, educator, and curator are strongly influenced by themes relating to place, transformation, and perception. Through the use of experimental and traditional techniques, Tracy incorporates a variety of working methods into her photography, prints and books.



William Winter - Infinite Choke

A myth, a meditation, a vision in time – ‘Infinite Choke’ is an exercise in slowing down, a moment to focus inward, and a chance to fully take in one's surroundings. Found objects replace wildlife competing with each other for survival. A fire extinguisher sits uselessly in the desert, unused, untouched, with nothing to burn for miles around. As the sun moves overhead, time passes quickly and a meditative discourse ensues. The heat of the day brings a hazy, buzzing mirage of possibilities. The night brings sounds of unseen life.


Perhaps a vision of the future, a memory from the past, or an anxious omen for what could be, a glimpse of a potential conflict plays out midday before fading into the ether of the desert sun only to repeat itself indefinitely.


William Winter is a Berlin based artist who uses conceptual, spatial, and interdisciplinary approaches to explore conventions and rituals and to investigate the relationships between obsession, escapism, and alchemy. His work employs a variety of media including sculpture, video, painting, mould-making, machine-building, installation, performance, and musical composition.

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