Situating Finding Room on and within Graycliff, designed by Wright in 1926, places Braman’s work in conversation with this architectural masterpiece. In their practices, Wright and Braman explore the relationship of nature and found elements to humanmade objects, drawing attention to lived experience with deceivingly simple formal gestures. Wright combined glass, wood, and stone taken directly from the site to create the intricate details of the organic style of architecture that became his legacy. Braman uses similar materials to create forms that revere commonly overlooked aspects of daily life. The interaction between natural and humanmade materials and, perhaps especially, the dialogue between light and glass are springboards for both artists.
Braman’s sculptures can be viewed in relationship to the formal legacies of modernism, like Color Field painting and Minimalist sculpture. Instead of the white cube gallery space and what it implies, Braman’s preferred context is domestic, so that the sculptures be experienced as part of one’s everyday life. As such, placing her sculptures in a home that is itself part of the modernist tradition yet also carries the warmth and intimacy of a beloved family home, underscores how Braman’s work both resists and embraces modernist traditions to reconsider our lived environment.
