Installation view, At Finger_s End, works by Michael Cuadrado and Rina Goldfield

Installation view, At Finger’s End, works by Michael Cuadrado and Rina Goldfield

At Finger’s End foregrounds Michael Cuadrado’s and Rina Goldfield’s explorations of how we visualize, concretize, and represent immaterial and vast abstract systems and lived experiences. The show’s title is a reference to a line in an Emily Dickinson poem, “At my finger’s end,” paraphrased and recontextualized by Amy Sillman in the artist’s 2020 essay “Notes on the Diagram” published in The Paris Review: “At finger’s end, beyond the graph, off the chart, in the realm of not-knowing, lay the weird unformed excess, the chora, not information.” Goldfield’s and Cuadrado’s work emerges from this space of improvisation and unknowns.

Installation view, Light Trail, works by Abby Flanagan and Mariko Makino.

Installation view, At Finger’s End, works by Michael Cuadrado.

Often immersed in archival research, Goldfield explores processes of reading, learning, and retaining information in her “book paintings” and works on paper. She embraces chance, using marbling to drive her application of color—a technique long used in bookmaking to adorn (and differentiate) book covers and endpapers. 

Installation view, At Finger's End, works by Michael Cuadrado and Rina Goldfield

Installation view, At Finger’s End, works by Michael Cuadrado and Rina Goldfield

Cuadrado considers longing, desire, love, compatibility, and heartbreak in new paintings driven by a penchant for astrology, mysticism, and science. Each artist inserts indices of the human body: Goldfield, for example, reproduces signs of wear from use on her painted book pages while Cuadrado often includes signs of his own shadow in his compositions. Grids also appear in both artists’ work as ways to systematize and quantify the infinite, bending and curving as our systemic approaches to symbol and space break down. 

Installation view, At Finger_s End, works by Michael Cuadrado and Rina Goldfield

Installation view, At Finger’s End, works by Michael Cuadrado and Rina Goldfield

At Finger’s End foregrounds Michael Cuadrado’s and Rina Goldfield’s explorations of how we visualize, concretize, and represent immaterial and vast abstract systems and lived experiences. The show’s title is a reference to a line in an Emily Dickinson poem, “At my finger’s end,” paraphrased and recontextualized by Amy Sillman in the artist’s 2020 essay “Notes on the Diagram” published in The Paris Review: “At finger’s end, beyond the graph, off the chart, in the realm of not-knowing, lay the weird unformed excess, the chora, not information.” Goldfield’s and Cuadrado’s work emerges from this space of improvisation and unknowns.

Installation view, Light Trail, works by Abby Flanagan and Mariko Makino.

Installation view, At Finger’s End, works by Michael Cuadrado and Rina Goldfield

Often immersed in archival research, Goldfield explores processes of reading, learning, and retaining information in her “book paintings” and works on paper. She embraces chance, using marbling to drive her application of color—a technique long used in bookmaking to adorn (and differentiate) book covers and endpapers. 

Installation view, At Finger's End, works by Michael Cuadrado and Rina Goldfield

Installation view, At Finger’s End, works by Michael Cuadrado and Rina Goldfield

Cuadrado considers longing, desire, love, compatibility, and heartbreak in new paintings driven by a penchant for astrology, mysticism, and science. Each artist inserts indices of the human body: Goldfield, for example, reproduces signs of wear from use on her painted book pages while Cuadrado often includes signs of his own shadow in his compositions. Grids also appear in both artists’ work as ways to systematize and quantify the infinite, bending and curving as our systemic approaches to symbol and space break down. 

INSTALLATION IMAGES

Installation view, At Finger's End, works by Rina Goldfield and Michael Cuadrado.
Installation view, At Finger's End, works by Rina Goldfield and Michael Cuadrado.
Installation view, At Finger's End, works by Rina Goldfield
Installation view, At Finger's End, works by Rina Goldfield
Installation view, At Finger's End, works by Rina Goldfield and Michael Cuadrado.
Installation view, At Finger's End, works by Rina Goldfield and Michael Cuadrado
Installation view, At Finger's End, works by Rina Goldfield.
Installation view, At Finger's End, works by Rina Goldfield

INDIVIDUAL ARTWORKS

Rina Goldfield, A Short Space, 2023, oil and steel on canvas, 48 x 36 in.

Rina Goldfield, Green Eggs and Flowers, 2023, oil, steel, magnets, and gampi paper on canvas, 48 x 36 in. 

Michael Cuadrado, Break for Love, 2023, oil on canvas, 24 x 30 in.

Michael Cuadrado, Untitled, 2023, oil on canvas, 14 x 14 in.

Michael Cuadrado, In Between Shadows, 2023, oil, charcoal, and inkjet print on canvas, 40 x 36 in.

Michael Cuadrado, Secret Ways to Know Each Other, 2022, chalk pastel and inkjet prints on paper, 45 x 38 in.

Rina Goldfield, Waves, 2023, acrylic and cellulose glue on BFK paper, 22 1/2 x 15 in. unframed, 25 1/2 x 18 in. framed.

Rina Goldfield, Waves, 2023, acrylic and cellulose glue on BFK paper, 22 1/2 x 15 in. unframed, 25 1/2 x 18 in. framed.

Rina Goldfield, Waves, 2023, acrylic and cellulose glue on BFK paper, 22 1/2 x 15 in. unframed, 25 1/2 x 18 in. framed.

Rina Goldfield, Waves, 2023, acrylic and cellulose glue on BFK paper, 22 1/2 x 15 in. unframed, 25 1/2 x 18 in. framed.

Rina Goldfield, Waves, 2023, acrylic and cellulose glue on BFK paper, 22 1/2 x 15 in. unframed, 25 1/2 x 18 in. framed.

Rina Goldfield, Waves, 2023, acrylic and cellulose glue on BFK paper, 22 1/2 x 15 in. unframed, 25 1/2 x 18 in. framed.

Rina Goldfield, Waves, 2023, acrylic and cellulose glue on BFK paper, 22 1/2 x 15 in. unframed, 25 1/2 x 18 in. framed.