sustaining pedal @ Carrie Secrist Gallery

zip drawing
thread and staples
38 by 8 by 8 feet
solo exhibition sustaining pedal at Carrie Secrist Gallery
Chicago, Illinois
7 September – 20 October, 2012
photography by Derek Porter


Press release: Carrie Secrist Gallery is pleased to open it's 20th anniversary season with Anne Lindberg: sustaining pedal. The newest additional to our roster, Lindberg will conceive an ambitious museum-scale installation called zip drawing in the gallery, alongside a selection of two-dimensional drawings. sustaining pedal is Lindberg's first solo exhibition at Carrie Secrist Gallery. Please join us for a reception for the artist on Friday, September 7, 2013 from 5-8pm.

In the main gallery, Anne Lindberg will construct a site-specific floating drawing composed of fine parallel threads and stapes. Stretching individual strands of cotton thread taut from opposing walls, Lindberg creates a translucent volume of color with varying hues. Individual lines vibrate and pulsate with slightly different tonalities, playing tricks on viewer's optical nerves. These changes in tone and density elicit the concepts of sustaining pedal. As a musical note becomes airborne, a piano's sustain pedal dampers the instrument's strings, extending and elongating the like of the note into space, bringing out its full character. The resulting sounds, resonant and complex, acts as an acoustic metaphor for Lindberg's work. The notion of a singular element stretching into the orchestral whole reiterates Lindberg's examination of the rise and fall of the parallel line.

Likewise, Lindberg's two-dimensional pieces (graphite and colored pencil on cotton mat board) hold the same aesthetic impulse. Drafted with an architect's parallel bar, the imagery comprises tightly spaces lines that vary in density and darkness. In the artist's indexical translation of the three-dimensional into the two-dimensional, the pencil drawings are subject to the uncontrolled internal movements of her body. The exactitude o this mark making ultimately betrays the organic, human aspect of Lindberg's linear images.