each rethink paper’s tactile application as a collage material. Litchfield examines and reconstructs her local Massachusetts country landscapes though fractured, phenomenological viewpoints. Working in layered compositions that bring together gouache, paper, archival inkjet print and collage, such as in Setting High Hopes
(2014), Litchfield pinpoints the ineffable tone of a place and breaks down her surroundings to rebuild them. Ivcevich alludes to and rejects a contemporary city experience in works that he refers to as “urban archaeology.” Reappropriating paste-up subway ads, as in his Shred Mandala II
(2013), he offers a counterpoint to posters and their attention-grabbing traditions. Instead, Ivcevich asks viewers to unplug and enter an inwardly focused meditative state while interpreting his Rorschach-like shredded abstractions.