Saul Fletcher’s latest exhibition is comprised of a set of new pictures, as well as a group of paintings and a wall-sculpture. In fact, the exhibition marks the artist’s transformative expansion from photographer to painter and sculptor. Yet, as complete as this change may seem-from sharp-eyed observer with the camera to creator of seemingly abstract paintings-it is in all truth the plausible extension of Fletcher’s fascination and engagement with the process of image-making, in particular the physical manipulation of his studio wall. The paintings allow the viewer to peep through the surface of the photograph into the physical space of Fletcher’s visionary mind and to identify the wall as the projection locale of his imagination.

As Dan Fox observes in his contribution to the accompanying catalog:

Saul Fletcher, author of the eleven documents, understands his own wall as a sea captain understands the oceanic temperament. It stays in one place yet it is a means of travel. [...] Eyes dance imaginative reels across their surface crust, and the walls absorb blows of frustration when events outside their cubic embrace have not been sympathetic to us. They are immovably resolute sentinels, crutches that steady when we wish to stay still. A wall looks flat only to those who are strangers to it.