IZZY LEE
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Abby Flanagan
Hai-Wen Lin
Marina Darcy Weiner
Dye Trace

ON VIEW
SEPTEMBER 18 — OCTOBER 31, 2026
IZZY LEE is delighted to present Dye Trace, an exhibition of sculptures and works on paper by Abby Flanagan, Hai-Wen Lin, and Marina Darcy Weiner. The three are showing together for the first time, and for Flanagan and Lin the exhibition is also a Los Angeles debut. Lin currently has a solo exhibition at the Museum of Arts and Design, New York, NY. The presentation precedes solo exhibitions by Flanagan with STNDRD Exhibitions at the Granite City Art and Design District, Granite City, IL, and by Lin at the Knoxville Museum of Art, Knoxville, TN.

The artists in Dye Trace untie familiar forms. Flanagan breaks down systems of water measurement until they become pigments traced across the gallery's windows and rendered on paper, Lin undresses one set of objects to clothe another, and Weiner unfastens the alphabet from the keyboard. The exhibition takes its title from dye tracing, a process in which scientists add dye to a flowing body of water to measure its velocity; doctors do something similar, sending contrast dye through the body to make the interior visible. Their slow, intentional processes investigate the mechanisms and assumptions that undergird contemporary life, treating these systems as human inventions—open to question, revision, and play.

Abby Flanagan reconsiders our methodologies for understanding climate and the natural environment. Her installation tract (aquifer) (2026) works directly from dye tracing: Flanagan fills polycarbonate tubes with rhodamine, a bright pink pigment used to trace waterways. At IZZY LEE, she arranges these tubes in the gallery’s windows to re-orient viewers to their surroundings. Meander (2025) begin from a water current meter, an instrument resembling a pinwheel of small metal cups that measures a river’s velocity. Flanagan has fashioned one into a drawing tool, and, working from recorded meter data, moves her wrist in time with the changing current to transfer pigment to paper. In her small measures drawings (2026), geometric marks and short phrases propose units of measurement taken subjectively.

Hai-Wen Lin works with the stripe, a fashion motif that also adorns the tarps protecting architectural sites across Taiwan. At IZZY LEE, the Taiwanese-American artist stages two new works from their drobe series (2025–ongoing)—irregularly shaped, sewn garments in this blue-and-white pattern. The series takes its name from where clothes get tossed aside rather than hung—the chair-drobe, bed-drobe, and floor-drobe. Some of Lin’s garments initially clothed Chinese antiquities at the Chinese American Museum of Chicago, where the series debuted. For Dye Trace, they are building new scaffolding, site-specific to the gallery, for scaffolddrobe (2026); a second work, airdrobe (2026), hangs as a kite, extending Lin’s kite-making practice, in which a garment is held by a line and given over to the wind. Back to the Clouds (2026), a hand-embellished print made with Chicago’s Process/Process, abstracts the collar of a traditional Chinese garment into calligraphic marks; into each edition the artist sews string that weaves through a cloud and ends in a dangling bead.

For Dye Trace, Marina Darcy Weiner builds an uncanny "keyboard" of wall-mounted ceramic tiles, one for each letter, bearing obscure symbols in relief. The shapes she forms by hand suggest the rungs of ladders, screws, handles, and other everyday tools, finished in gray glazes and painterly detail. Some tiles carry the tools' imprints directly: Weiner presses a thin slab of clay over one, lets it dry until the shape holds, then cuts the slab into pieces and sets them into the relief. She is also thinking about early industrial printing, where the linotype—a machine that cast whole lines of type at once from molten metal—produced slugs that could be melted down and cast again and again. In the back room at IZZY LEE, Weiner's works on paper abstract the orange stripes that mark urban barricades, releasing them from the work of directing traffic and human movement.


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