Second Date, Loren Britton’s current show at Field Projects, is an enchanting garden of whispers. Thin, delicate, relatively small paper pulp sculptures line the walls of the gallery’s intimate space. Each piece forms a color composition around words and fragmentary phrases in cursive script. The palette here is dominated by fleshy pinks, lustrous ochres and warm oranges. As a whole, these works recall both the quietly endearing hues of Marie Laurencin and the playfully amorphous forms of Joan Miró. Up close, the pulp exhibits a fine, skin-like texture that invites touch. From the web of wrinkles and creases, writings such as “are you” and “Women, Wimmin, Womyn, Wymin” emerge, fade and sometimes get erased.
Partaking in the discourse of new queer abstraction, Second Date is a rarity among contemporary art trailblazers: in addition to its conceptual richness, it employs the poetic and visceral in its main mode of address. In comparison to the much-explored approach of queer archaeology, where abstraction serves to excavate visual references from queer cultural history, Britton explores abstraction as a medium for shared vulnerability. The artist is now based in Berlin, Germany; we were able to sit down during their brief sojourn in New York.