Beth Ganz’s new work is a response to her ongoing inquiry into topography, line, and shape that arise from interstitial spaces. Her reliefs are depicted in both the negative and positive, in all the various techniques she employs: gravure, photography, line drawing, montage. A recent series of hand-painted maps interjects an element of historical exploration and emphasizes the flux between the surface of the image and the photograph’s illusory depth. Each of her works is an invitation to a historical legacy, offering a window onto another world.
Her images are both supported and disrupted by the play between negative and positive, surface and depth, landscape image and map-like painted detail. Her use of fragile kozo paper in conjunction with the weight and mass of the topographies serves the artist’s intent well: the collaged reverse imagery becomes a finely honed dance of mirror image shapes.
Ganz has had several solo exhibitions in New York and throughout the United States; her prints have been included in many group shows in the United States, England, Europe, and India a country and a landscape that has become her muse and touchstone for the past decade.