Enduring Geometry

Lauren Comito’s prints represent systems of complex organization, figures that dual as both schematic and substrate — waiting to be activated, assembled, and cultivated. Working from flattened packaging as templates, Comito traced the hidden geometry of everyday containers, finding within them the raw material for something far more enduring. Reminiscent of ancient codes and sacred icons, these large-scale black and white prints are blueprints for rebuilding, their shapes and compartments folding and unfolding to reveal a packaged logic that functions as both instruction manual and devotional object. The shapes drawn from these humble containers — their circles, grids, and bilateral symmetry — carry an unexpected resonance, echoing the geometry found in nature and in the sacred objects of ancient cultures. In reclaiming the disposable as something monumental, Comito’s work quietly asks what we choose to preserve, and what we throw away.

New School PTF Develop Fund Awardee

Recently I was awarded a grant through the New School where I have taught for the last 4 years. This is funding goes towards the making of my first artists’ book. I began my journey by taking a workshop with Anne Eder at the Penumbra Foundation to learn how to work with phytograms and lumen prints. This fascinating process uses plant chemistry. Below are some of my first experiments.

The following group of images are examples of lumen prints and contact prints from the phytograms above. I experimented combining plastic packing with the botanicals.

Balancing Ecosystems at the Courthouse Gallery in Lake George

Amanda Thackray, Blue Ghost Trawler, 2020, Hand pigmented cotton paper pulp, 30 x 89 x 0.5 inches
Milcah Bassel, Untitled Triptych (from Rewilding the Grid), 2025, gouache on handmade paper (cotton, mystery pulp, pigment), 18.5 x 14 inches (each)
Rachel Frank, Wading Foot Tangle, 2024
Ink, watercolor, and pigment on paper
11 x 15 inches 
Lauren Comito, Copepods no. 7, 2025, cyanotype on paper, 9 x 12 inches