The print sculptures in Brotman’s current body of work, Scaffolding, look at publicly accessible structures such as bridges, boardwalks, and piers. The artist uses these mediating loci to examine the parameters of our social contract with nature. She says, ‘The water under the bridge or at the end of the boardwalk may be menacing at times. These structures act as conduits over challenging terrain while also protecting fragile shorelines from damaging footfalls.’ In works such as Trestle or Blackfriars, Brotman attempts to capture the tension between chaos and control that is present in life. The support beams and the angles of the posts capture the rhythm and movement of architecture in the making.
In Scaffolding, Brotman applied the hand drawn-based etching on Japanese paper, to varying thicknesses of foamcore before building each structure, turning these pieces into raw material akin to lumber. Whereas earlier works had a limited palette that referenced the materiality of wood and metal, Scaffolding introduces small jeweled-colour elements: the ends of some of the pieces are painted to mimic lumberyard practices where colour is used as a code for size.