SPLAY debuts a new typology by Ashlynn Trane: laser-cut wooden supports upholstered with canvas, unfurling painting into the third dimension. Drawing from her background as an architectural model-maker, Trane holds a mirror to the flotsam of the 2020s—supermarket balloons, porcelain rabbits, knotted ribbons—duplicating and distorting familiar forms into kaleidoscopic abstractions. The works form a poem about contemporary material delight that is both an ode and an epitaph.
