LOS ANGELES, CA.- Bank will present Veronica Bailey: Postscript - Project Room: Susan Silton, REMAINS, on view April 14 – May 19, 2007. British born artist Veronica Bailey has created a recognizable body of still life photography that fuses her interests in history, archive, materiality and abstraction. In her most recent body of work Postscript, Bailey formulates a visually arresting and seductive collection of photographs that document a revealing archive of letters written by model/muse/photographer Lee Miller during her years as a war correspondent in World War II.

The letters in Postscript focus primarily on the correspondence between Miller (1907-1977) and British Surrealist artist Roland Penrose (1900-1984) prior to their marriage in 1947, but also include communications with her wartime employer and Vogue editor, Audrey Withers. During the years the letters were written, Miller documented the Blitz, the liberation of Paris as well as Nazi concentration camps and their victims upon their liberation. These were frenetic times for Miller much like her passionately charged relationship with Penrose.

Bailey was granted full access of the Lee Miller Archive at Farley Farm in East Sussex. Each letter is photographed long and thin, yet seduces with its soft lines of folded paper and hinted text. The materiality of antiquated torn paper is both sculptural and erotic. Although the viewer is never privy to the content, Bailey’s titles Don’t Make Me Wait Too Long, I Love You and Mad With Envy connect directly with the emotional charge of the letters without revealing their intimate details.1 Much of the power of these images lies in their subtle erotic mystery.

London based artist Veronica Bailey received her BA from Middlesex University and her MA from Central Saint Martins College. Just after receiving her MA, Bailey won the 2003 Jerwood Prize in photography for the 2 Willow Rd. Series – photographs of books from the library of the modernist architect Erno Goldfinger and his wife Ursula Blackwell. Her work has been published in Art Forum, Eye Magazine, Portfolio and Grafik. She is represented by Frost and Reed in London/New York, Tartar Gallery in Toronto and Bank in Los Angeles. This is Bailey’s west coast debut.

Project Room: Susan Silton, REMAINS - Los Angeles based artist Susan Silton, exhibits a text-based work that continues the artist’s investigation of the ambiguous nature of perception, activating the space between presence and absence, language and meaning, form and content. Silton paints single words on the wall - which in and of themselves are nuanced in their meaning - using the same paint color as the wall itself but in a slightly different finish. The resulting words—whose subtle presence on the wall is animated by available light and the viewer’s movement around a given space—possess an optical, sculptural, and contextual resonance.

Susan Silton works is supported through diverse media—including photographic-based processes, video, installation, and offset lithography. Her work has been exhibited in exhibitions nationally and internationally, including Feigen Contemporary, NY; Susanne Vielmetter Los Angeles Projects; SITE Santa Fe, NM; Australian Centre for Contemporary Art, Melbourne; Angles Gallery, Santa Monica; LACMA; Hammer Museum, Los Angeles; and Allianz Zeigniederlassung, Berlin, Germany. Her work is included in forthcoming exhibitions at Vassar College, NY; ICA/Philadelphia; and the Pasadena Museum of California Art; and was included in Picturing Modernity: The Photography Collection, SFMOMA (2006). Silton has received fellowships from The MacDowell Colony and Banff Centre for the Arts, Canada, as well as awards and commissions from the Durfee Foundation and Clockshop Foundation. She is a recipient of a Getty/California Community Foundation Fellowship in 2005, as well as a C.O.L.A. Individual Artist Fellowship in 2003. Co-curated by Kulov.