The arch of fabric as it explodes from it’s casing, the temperateness of black powder at combustion -- these are the molds into which the construction of Sawyer's and Iannatti's works are poured.
Both artists derive the bulk of their inspiration from industrial processes and manufacture. Sawyer and Iannatti use the techniques of their Arte-Povera predecessors to meld and elevate found materials and forms, exposing the suggestion of a bodily presence. With individual practices that are equally photographic as they appear sculptural or painterly, both Sawyer and Iannatti shape an aesthetic gestalt that points to the functional history of the materials. A nicotine stain on a wall is an impermanent register of an addiction and the absence of the addict. A black smudge left on the fabric of an exploded airbag is more corporeal then it is painterly, and more recognizable as mascara than oil paint. Iannatti places appropriated architectural structures, which within the gallery, transform into skeletal forms of support or vehicles psychological torture. Equally, Sawyer’s recorded thumbprint changes to something more auditory violent than it is identifiable as a vinyl record. The registration of a body is visible but the individual is stripped away, the works mirroring the per diem of the body as it passes through space, inhabits rooms, puts objects to use.