Erin Shirreff’s diverse body of work, which includes photography, video, and sculpture, is united by her interest in the ways we experience three-dimensional forms in a visual age invariably mediated by still and moving images. In recent years, Shirreff has been exploring the sculptural possibilities of dye sublimation printing on aluminum to create large, informal, collage compositions of cut-metal prints arranged in deep-set frames. These assemblages begin with images scanned from modern art anthologies and vintage commercial photography, which are then cropped and enlarged past legibility and printed on transfer paper. The paper is pressed onto aluminum sheets at incredibly high temperatures, which turn the dyes into gas that permeate the metal surface. The sheets are cut into varying fragments and stacked against one another in a series of intersecting textures, colors, and patterns.

The source imagery of Shirreff’s luminous Sunset Palace derive from: Anthony Caro, Elephant Palace, 1989 (brass); Constantin Brancusi, Torso of a Young Man, 1924 (bronze); and Naotake Matsuoka, Untitled photograph of a flower.