Coleen Sterritt’s odd and idiosyncratic work prods at the spaces between manufacture and nature, anonymity and authorship, art and craft. Offering an extended meditation on artifice, her objects teeter between variants of reality and their opposites. Her forms are based on an elaborate crypto-botany of her own invention, a rotation of natural and other facts, manifested in crude, yet refined renditions of still-life objects, architecture, and implements. Because of her strange, but consistent interior logic, she retains a hold on the world of concrete things. Sterritt’s body of work questions interactions between the urban environment and surrounding nature, reinterpreting the distances separating a prosaic and alienating reality from a lyrical and imaginative dimension. Her use of materials, both found and fabricated, lends value to things once invisible and valueless, granting the power of seduction to objects generally devoid of that quality …see the entire article in the print version of June’s Sculpture magazine.
