LINE: Online Exhibit at Site: Brooklyn

Callas’s Sculpture Rosetta exhibited in LINE, an online exhibit at Site: Brooklyn.

Rosetta
Digital Print on Kuzo Paper on 3D Printed Bio Filament
48 x 16 x 12 in
2025
By Artist Kimberly Callas @k_callas

Rosetta is a 3D-printed sculpture collaged with hand-drawn patterns digitally printed on Kuzo paper. It emerges from my interest in natural patterns and how they repeat across species, time, and scale. A whale’s fin, a bird’s wing, the bones of a human hand—each so similarly shaped, each carrying traces of a shared blueprint. I want to explore how place marks us, how inheritance and environment shape us, and how, by paying attention, we might begin to understand the lessons inscribed in the living ecosystems that sustain us.

A partial figure layered with oceanic forms; Rosetta explores the body as both medium and empath with the natural world. The surface markings—resembling kelp, currents, nets, and tidal patterns—invite viewers to decode the ecological memory etched into flesh and sea. Belonging, here, is not solely a human experience, but something deeply embedded in the rhythms of the Earth.

 

Juror: Tara Anne Dalbow is a writer and critic currently living in Los Angeles. Her critical work can be found in Art Basel, Artforum, ARTnews, Art Papers, Artsy, Bomb, Flaunt, Frieze, Dwell, Interview, Los Angeles Times, Los Angeles Review of Books, W magazine, and elsewhere.

Through Lines by Tara Anne Dalbow
What is a line? A line, like a rose, is a line is a line. If you look up the word line in any major dictionary, you’ll find pages and pages of entries. Etymologically, it comes from the Latin linea, meaning “linen thread, string, plumb line.” In mathematics, a line is considered a one-dimensional figure that extends infinitely in both directions. In literature, it’s the fundamental unit from which all written languages are derived. Traditionally, in the visual arts, lines are most closely associated with drawing, graphite or ink on paper. The Swiss-German artist Paul Klee once called a line a “dot that went on a walk,” while the Austrian painter Gustav Klimt defined art as a “line around your thoughts.” In our day-to-day lives, we encounter lines everywhere; we use them to describe, contain, connect, and create.

The selected artworks feature lines that wander, whirl, unravel, break off, lunge and loop, bind and cleave, delineate and obfuscate. They’re abstract and representational, phenomenological and conceptual. These lines are materialized, made of silver leaf, silk, screen mesh, and porcelain. They are woven, painted, pasted, dripped, burned, scribbled, 3D-printed, and inscribed. They drift and undulate like ocean waves and are grounded, sturdy as redwood trees. They are soothing and exciting. They both reach into the past and forward toward the future; they affix time to a grid or expand it outward like a rhizomatic root system. They are textual, political, graphic, geometric, and architectural in nature. They encompass lines of thought, borderlines, horizon lines, and poetic lines.

The range of submissions highlights the versatility of the line, as well as the inexhaustibility of creative expression. Several of the artists in Through Line use lines to evoke the diversity and interconnectedness of the natural world, drawing inspiration from the irregularity and fluidity of organic forms. They envision lines capable of animating the same vigor and momentum of living beings. Other artists employ the grid as both an organizational tool and a subject of study to explore themes of interdependence—between the present and the past, between surface and space, and between us (here) and them (there). They either adhere to or resist the age-old pattern to advance their medium. Still others plumb the emotional depths of the line, reifying theories about the correlation between certain line qualities and specific feelings. The final group gathers artists who extend the line beyond the two-dimensional plane and frame, into shared space. Using wire, fibers, mesh, and clay, they challenge all manner of convention and classification.