Delight in the natural world permeates Alice Momm’s work. Transitory and ephemeral, her creations often consist of things that she finds around New York City and works with on site or in her Harlem studio.
Dice el artista, “La re-unión del hombre con la naturaleza sería una forma de salvación, la única diría.” Esa búsqueda lo llevó a desarrollar una carrera internacional en China, donde su trabajo es reconocido, aceptado y apreciado.
Cristina Iglesias’s large-scale sculptures and installations expose the roots of the natural world and connect them to concepts that influence our perception of it, including memory, cultural narratives, and time.
Nina Canell, who lives and works in Berlin, explores process as medium and concept, a means to reveal synergies, transferences, and entanglements while uniting immaterial forces and material form.
Sound and visual artist, musician, teacher, and curator, Juan Sorrentino seeks “to transmit the sensory through the corporeal.” His installations incorporate the viewer by appealing to multiple senses, motivating, as he says, “inquisitive interactions with objects and materials through sound, seduced by the phenomenology of the discovery.”
Recipient of the 2022 Lifetime Achievement Award In 1973, Deborah Butterfield received her MFA from the University of California, Davis, where the faculty included Robert Arneson, Roy De Forest, Manuel Neri, William T. Wiley, and Wayne Thiebaud, artists committed to a hands-on approach, who combined the traditional and experimental in their work.
Nacido en Buenos Aires, el artista visual Paulo Riccobene, formado en la carrera de Edición y Diseño de Imagen y Sonido en la Universidad de Buenos Aires, se siente, según sus palabras, “convocado al mundo de la creación, en todas sus formas, de manera temprana.”
Joan Hall’s layered, monumental sculptures address how the climate crisis affects human bodies and bodies of water. Her processes and forms start with handmade paper and evolve organically. Part of the mystique in Hall’s work stems from the fact that she uses dry pigments and paper to create water-like surfaces.
Agustina Woodgate, who divides her time between Buenos Aires, Miami, and Amsterdam, sees the human landscape—its spaces, systems, and representation of values—as a conceptual geography open to questioning and improvement.
Masaomi Yasunaga pursues “fundamental beauty.” A student of Satoru Hoshino, Yasunaga continues the experimental ethos of Sodeisha, or “crawling through the mud association,” a postwar Japanese art movement (1948–98) that explored the sculptural possibilities of ceramics.