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SCAD at DESIGN MIAMI.PARIS 2026
Oct 20 - 25
SCAD is the official university partner of DESIGN MIAMI.PARIS.
The installation explores material transformation through the manipulation of paper into a series of suspended forms. Seventeen pleated paper sculptures are distributed throughout a vertical space, each embodying a fluted, column-like presence. Repeated vertical folds give the paper an architectural quality, shifting it from a familiar and delicate material into something dimensional and structured.
The forms are suspended separately, punctuating the space while visually overlapping from different viewpoints. Beads positioned along the folds help hold and articulate the forms. When light falls across the folded surfaces, it produces layered shadows and subtle shifts in color and depth. Up close, the individual pleats, beads, and variations in each sculpture reveal the process and material logic used to construct the work.
Oct 20 - 25
SCAD is the official university partner of DESIGN MIAMI.PARIS.
The installation explores material transformation through the manipulation of paper into a series of suspended forms. Seventeen pleated paper sculptures are distributed throughout a vertical space, each embodying a fluted, column-like presence. Repeated vertical folds give the paper an architectural quality, shifting it from a familiar and delicate material into something dimensional and structured.
The forms are suspended separately, punctuating the space while visually overlapping from different viewpoints. Beads positioned along the folds help hold and articulate the forms. When light falls across the folded surfaces, it produces layered shadows and subtle shifts in color and depth. Up close, the individual pleats, beads, and variations in each sculpture reveal the process and material logic used to construct the work.
BECOMING at Spalding Nix Fine Art
September 18 - November 13, 2026
Browse and purchase works from the exhibition HERE.
“Color Interaction VI” is the latest iteration in an ongoing investigation of how color responds when it is asked to occupy three dimensional space.
The works are pleated and trimmed to create a directional shift in color. This subtle movement is interrupted with each pleat, punctuating an otherwise continuous gradient into distinct color swatches.
Anchored by a glass bead, each fold becomes structural as well as optical. The surface alternates between peaks and valleys, absorbing and reflecting light. In these moments, each pleat functions as small lightwell, where color compresses and briefly destabilizes.
https://spaldingnixfineart.com/show/spalding-nix-fine-art-de-novo
September 18 - November 13, 2026
Browse and purchase works from the exhibition HERE.
“Color Interaction VI” is the latest iteration in an ongoing investigation of how color responds when it is asked to occupy three dimensional space.
The works are pleated and trimmed to create a directional shift in color. This subtle movement is interrupted with each pleat, punctuating an otherwise continuous gradient into distinct color swatches.
Anchored by a glass bead, each fold becomes structural as well as optical. The surface alternates between peaks and valleys, absorbing and reflecting light. In these moments, each pleat functions as small lightwell, where color compresses and briefly destabilizes.
https://spaldingnixfineart.com/show/spalding-nix-fine-art-de-novo
Color Interaction VI, 2026
Color Interaction VI, Magenta, 2026
Color Interaction VI, Cyan, 2026
Color Interaction VI, Yellow, 2026
manipulated paper, glass beads, nylon
27 x 36 inches
Color Interaction VI, Magenta, 2026
Color Interaction VI, Cyan, 2026
Color Interaction VI, Yellow, 2026
manipulated paper, glass beads, nylon
27 x 36 inches
Color Interaction VI at RAM Gallery
Opening Reception
Thursday, 5 MAR, 6-8 PM
manipulated paper, glass beads, nylon
9 x 12 inches
This series is structured through a fixed set of material variables involving paper, printed color, and beadwork. Each work shares the same dimensions and construction, with the paper folded into a three-dimensional pleated form.
Color Interaction VI uses twelve paper stocks selected from GF Smith’s Colorplan collection. Each sheet is printed with one of three gradients (cyan, magenta, or yellow) and then embellished with one of twelve different colors of Japanese glass seed beads. Through these controlled variations, the works examine how color transforms depending on surface and ligh
Opening Reception
Thursday, 5 MAR, 6-8 PM
manipulated paper, glass beads, nylon
9 x 12 inches
This series is structured through a fixed set of material variables involving paper, printed color, and beadwork. Each work shares the same dimensions and construction, with the paper folded into a three-dimensional pleated form.
Color Interaction VI uses twelve paper stocks selected from GF Smith’s Colorplan collection. Each sheet is printed with one of three gradients (cyan, magenta, or yellow) and then embellished with one of twelve different colors of Japanese glass seed beads. Through these controlled variations, the works examine how color transforms depending on surface and ligh
CMY(K), 2024
woven paper, glass beads, nylon
CMY(K) explores the collaboration between machine precision and handmade construction. Each work begins with GF Smith Colorplan paper digitally printed with a transparent gradient of cyan, magenta, or yellow, the three primary colors of subtractive process printing. The paper is then cut into strips and reassembled through a plain weave, allowing printed color and paper color to intersect across a shifting grid.
The series relies on pure process color as a controlled variable. New colors emerge through overlap and optical mixing, placing the final image partly in the eye of the viewer. Inspired by the perceptual strategies of 1960s Op Art, the works change with distance and angle. Areas that initially appear stable dissolve into layered fields of color and movement.
Japanese glass seed beads are embroidered through the paper to secure the woven structure. Their color shifts in relation to the surrounding field, complicating the distinction between material color, printed color, and perceived color. The open square formed by the embroidery functions as a viewfinder, revealing the original woven surface beneath.
Through digital printing and techniques in textile fabrication / ornament, CMY(K) brings traditional hand processes into conversation with digital tools. The works invite sustained looking, revealing color as unstable and relative.
Exhibited at the 2024 Atlanta Art Fair for SCAD Art Sales.
woven paper, glass beads, nylon
CMY(K) explores the collaboration between machine precision and handmade construction. Each work begins with GF Smith Colorplan paper digitally printed with a transparent gradient of cyan, magenta, or yellow, the three primary colors of subtractive process printing. The paper is then cut into strips and reassembled through a plain weave, allowing printed color and paper color to intersect across a shifting grid.
The series relies on pure process color as a controlled variable. New colors emerge through overlap and optical mixing, placing the final image partly in the eye of the viewer. Inspired by the perceptual strategies of 1960s Op Art, the works change with distance and angle. Areas that initially appear stable dissolve into layered fields of color and movement.
Japanese glass seed beads are embroidered through the paper to secure the woven structure. Their color shifts in relation to the surrounding field, complicating the distinction between material color, printed color, and perceived color. The open square formed by the embroidery functions as a viewfinder, revealing the original woven surface beneath.
Through digital printing and techniques in textile fabrication / ornament, CMY(K) brings traditional hand processes into conversation with digital tools. The works invite sustained looking, revealing color as unstable and relative.
Exhibited at the 2024 Atlanta Art Fair for SCAD Art Sales.
