{"id":4190,"date":"2026-04-07T21:27:20","date_gmt":"2026-04-07T21:27:20","guid":{"rendered":"https:\/\/dartmagazine.com\/?p=4190"},"modified":"2026-04-07T21:28:04","modified_gmt":"2026-04-07T21:28:04","slug":"time-and-materials","status":"publish","type":"post","link":"https:\/\/dartmagazine.com\/?p=4190","title":{"rendered":"Time and Materials"},"content":{"rendered":"\n

by Federico Lynch Ferraris<\/strong> <\/p>\n\n\n\n

Nadia Coen, Mahmoud Hamadani, Armita Raafat, Michael David, Andrew Huston, Alyse Rosner, Paul Michael Graves, Bodo Korsig, Steven Salzman, Margaret Weber, Mark Williams
at Bienvenu Steinberg & C<\/em> in New York City<\/p>\n\n\n\n

Across painting, sculpture, and installation, \u201cTime and Materials\u201d highlights the use of unconventional materials \u2013 glass, resin, plastic straws, fabrics, and carpets \u2013 to create works that are both temporal and tactile. Many of the works lean abstract, inviting the viewer to consider the significance embedded in the use of obscure materials and the progression of time encoded in the art.<\/p>\n\n\n\n

\"Paul
Paul Michael Graves<\/strong>, Fig. CXXXVIII., 2024, oil on canvas, 48 x 48 in, 121.9 x 121.9 cm<\/figcaption><\/figure>\n\n\n\n

The exhibition repeatedly emphasizes material experimentation as an outlet for interdisciplinary expression. Paul Michael Graves\u2019 pieces play with the intersection between art and his previous career as a helicopter pilot. Composed of black dots and lines set across a bronze background, the pieces evoke the visual components of aerial map making. Initially appearing abstract, the artwork deliberately uses the black marks to resemble plotted coordinates and flight paths as seen from above. Graves\u2019 interpretation of time reflects the broader theme of the unique experience of time. The pieces display time and duration through flight paths rather than fixed units.<\/p>\n\n\n\n

Mahmoud Hamadani\u2019s geometric compositions similarly gesture towards his mathematical foundations. In his untitled work, Hamadani arranges nine black frames into a square. Within each frame, seven diamonds are uniquely oriented, with each diamond representing a day of the week. The subtle variations within each frame mirror the rhythms and changes of days and weeks. Continuing the larger theme of time interpreted through interdisciplinary practices, Hamadani\u2019s geometric orientations suggest that time is measured, rhythmic, and symmetrical through a mathematical lens.<\/p>\n\n\n\n

\"Installation
Installation view with work by Steven Salzman<\/strong>‘s Steaws III and Straws X (left), and Andrew Huston<\/strong>‘s Days of the week (right)<\/figcaption><\/figure>\n\n\n\n

Andrew Huston continues the use of geometric shapes to portray time. With seven panels, each filled with gold pigment and black dots, the artwork represents the seven days of the week. Although the panels are fixedly aligned to emulate calendar pages, each panel is distinct. The variation among the series of panels emphasises the unpredictability of time despite the expected rhythm of the week. <\/p>\n\n\n\n

\"Armita
Armita Raafat<\/strong>, Untitled, 2019, resin, paper m\u00e2ch\u00e9, tiles, fabric, mesh tiles, fabric, mesh, and acrylic, 38 x 80 x 7 in, 96.5 x 203.2 x 17.8 cm<\/figcaption><\/figure>\n\n\n\n

Armita Raafat\u2019s portrayal of time draws on a more fluid interpretation, by contrast. Raafat draws on traditional Muqarnas while reimagining it with vivid, unconventional materials. Composed of resin, tiles, and fabrics, the work revisits traditional architecture with a modern perspective, suggesting that time, rather than being fixed, can be actively returned to and reconsidered. The piece, being an extension of Raafat\u2019s inquiry into Muqarnas, maintains the ongoing theme of interests and passions altering perception of time found throughout the exhibition. <\/p>\n\n\n\n

\"Bodo
Bodo Korsig<\/strong>, Tears of Silence, 2023, 7.9 \u00d7 10.2 in, 20 x 26 cm<\/figcaption><\/figure>\n\n\n\n

Bodo Korsig\u2019s \u201cZerspringen des Zustandes\u201d, which translates from German to \u201cShattering of the State\u201d, approaches the theme of time through one moment of rupture. The work suggests that time does not only unfold \u2013 it snaps. The \u201cshattering\u201d becomes a moment when continuity is lost, and a new state abruptly emerges. This interpretation of time aligns with Korsig\u2019s focus on human behavior under extreme conditions. In moments of fear or violence, mental states often do not erode over time; they shatter instantly. The piece introduces the irreversibility of time and its capacity to collapse into a single moment of change. In contrast to other works in the exhibition, which focus on the cycle and rhythm of time, Korsig centers its immediacy and instantaneity. <\/p>\n\n\n\n

\"Alyse
Alyse Rosner<\/strong>, From Wind or Sky or Myth (quiet pink), 2025, acrylic on raw pine, 6 x 5.5 in, 15.2 x 14 cm<\/figcaption><\/figure>\n\n\n\n
\"Michael
Michael David<\/strong>, The Batman, 2023-26, mirrored glass, silicone, fabric, glitter, acrylic and oil paint on wooden panels, 147 x 82 x 6 in, 373.4 x 208.3 x 15.2 cm<\/figcaption><\/figure>\n\n\n\n

Alyse Rosner\u2019s piece, \u201cFrom Wind or Sky or Myth (shadow)\u201d evokes the visual intensity of fireworks \u2013 brief yet expansive bursts that unfold simultaneously \u2013 suggesting that time is not a singular passing instant, but a convergence of multiple moments occurring at once.
Some works do not specifically reference time, however. Instead, they fall under the exhibition’s material aspect. Michael David, for example, uses nontraditional materials such as glass, silicone, fabric, and glitter in his work, \u201cThe Batman\u201d. Innovative uses of various materials are also present in the works of Nadia Coen, Steven Salzman, Margaret Weber, and Mark Williams. <\/p>\n\n\n\n

\"Margaret
Margaret Weber, Rivington or Wat, 2025, newspaper (newsprint), oil pastel, dye, acrylic paint, cardboard, 24 x 33.8 in, 61 x 85.7 cm<\/figcaption><\/figure>\n\n\n\n
\"Mark
Mark Williams<\/strong>, PoC 47, 2022, oil, acrylic & pencil on cardboard, 24 x 30 in, 61 x 76.2 cm<\/figcaption><\/figure>\n\n\n\n

The title of the exhibition draws on the policy under which clients pay contractors a fixed amount for the time spent and materials used. In the context of the exhibition, time and material are established as intertwined and in constant conversation.<\/p>\n","protected":false},"excerpt":{"rendered":"

by Federico Lynch Ferraris Nadia Coen, Mahmoud Hamadani, Armita Raafat, Michael David, Andrew Huston, Alyse Rosner, Paul Michael Graves, Bodo Korsig, Steven Salzman, Margaret Weber, Mark Williamsat Bienvenu Steinberg & C in New York City Across painting, sculpture, and installation, \u201cTime and Materials\u201d highlights the use of unconventional materials \u2013 glass, resin, plastic straws, fabrics, … <\/p>\n

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