Facture at AIRPLANE featured works that combined a handmade aesthetic with a range of materials. The works in this show manipulated spatial perception and challenged the distinctions between sculpture, painting, photography, and video. Through their formal qualities, along with personal, cultural, and technological references, the works evoked questions about the physicality of the art object. Facture included work by Hector Arce-Espasas, Jeremy Couillard, Amy Feldman, Elana Herzog, Gisela Insuaste, Jessica Labatte, LoVid, Heather Rasmussen, and Jamil Yamani.

In Jessica Labatte’s photography, everyday objects are juxtaposed to create abstracted tableaux of vivid colors and geometric shapes. Heather Rasmussen reconstructs scenes of shipping container accidents from pieces of brightly colored paper on seamless background paper. In the resulting photographs, the objects retain the fragility of their constructions. Familiar objects are decontextualized and abstracted.

Using frayed pieces of fabric and wooden and metal supports, Elana Herzog’s labor-intensive work transforms architectural space while reinterpreting the structures of painting, sculpture, and installation.Hector Arces-Espasas’s photograph incorporates painting and portrays a paradisiacal landscape. Gisela Insuaste’s wooden sculptural works depict urban spaces and landscapes and explore the intersection of architecture, topography, and memory. In Amy Feldman’s abstract painting, inverted triangular shapes are utilized to examine spatial structures, as she explores the relationship between figure and ground.

Jamil Yamani’s video projection of brightly colored circular shapes recall the imagery of mosaic tiles in Islamic architecture and transform into chaotic, flashing lights in the landscape of New York. LoVid, an interdisciplinary artist duo of Tali Hinkis and Kyle Lapidus, constructs works of disparate materials ranging from video to fabric as well as performances. In NetWork, electrical wires are woven together by the audience as part of a live video installation. The resulting sculpture NetWork: Amsterdam serves as a physical memory of the revealed electronic infrastructure and tactile experience. Jeremy Couillard views science as an aesthetic in his painting, which illustrates the evolution of totem poles in a cellular environment —in architectural and biological terms. Patterns and shapes are maniacally repeated, creating a distorted space.