Graeme Patterson makes multi-disciplinary sculptural installations, often with the end game of stop-motion animation in mind. His work is rarely still, fusing robotics, video, sound, objects, and performance into immersive environments that address dislocation, alienation, nostalgia, identity, and, recently, the fraught relationship of humans, our artifacts (physical and cultural), and the natural world.
Forms of Proliferation: A Conversation with Sofi Zezmer
Sofi Zezmer’s early biomorphic abstractions, made predominantly of plastic and occasionally loaded with hues integral to her unorthodox materials, burst into my line of vision toward the beginning of the new millennium. Though playful, her constructions touch on the intersection of science and technology while being imbued with the pulse of life, their forms continuing
Another Kind of Cell: A Conversation with Kendall Buster
Kendall Buster makes large-scale sculptures out of repeated modular units. Much of her work blurs the line between architecture and sculpture by playing on the notion of scale: while some sculptures are large enough to walk into, others put viewers in a position of power by offering a birds-eye view.
The Fully Formed is Suspect: A Conversation with Alistair Wilson
Alistair Wilson, who was born in Wales, came to Northern Ireland in the 1970s, after a period in London. For the better part of 30 years, he managed two careers–as a sculptor and as a lecturer in sculpture at the Belfast College of Art.
Forging Histories of Past and Present: A Conversation with Mariana Castillo Deball
Mariana Castillo Deball works with a range of materials and processes bearing a strong relationship to archaeology and history. Her transformative approach and deep visual understanding result in rich and resonant works that merge historical accounts and personal experience.
Reflecting on Space: A Conversation with Sharon Louden
Sharon Louden is best known for room-size, site-specific installations constructed from thousands of small components. She uses a variety of media, including painting, drawing, sculpture, and animation, aiming to capture movement and light. Within these works, industrial materials (her favorite is aluminum) are transformed into something more closely resembling forms in nature, even the human
Open To Association: A Conversation with James Shrosbree
James Shrosbree’s recent work is unexpected, un-designed, and “un-art-like.” His ceramic objects have low, lumbering, often ungainly shapes, at times buoyant and swelling, more frequently drooping as if pulled down by gravity. Some works appear clumsy and awkward, their monochrome glazes of unlovely yellows or greens slightly off; others are startlingly erotic in strangely bold
Caviar and Excrement: A Conversation with Wilfredo Prieto
A beautiful but wilting flower hangs in a noose, an egg sits next to an eight ball, and caviar enfolds excrement. Wilfredo Prieto’s works use simple, precise juxtapositions to tease out intriguing, open-ended metaphors. He often employs basic materials, projecting a certain poetry that at times recalls Minimalism and Arte Povera.
The Happy Effect: A Conversation with Shoplifter/Hrafnhildur Arnardóttir
Hair is an extension of our identity, persona, and character. It can be added to, colored, and formed. It draws us in to look, to feel. Hair can also be a mechanism for attraction or disgust.
Sarah Meyers Brent: Natural Disasters
Sarah Meyers Brent’s friends tend to donate their used clothes to her, as if she were a branch of Goodwill. Not that she needs these garments to wear; instead, she uses them to construct complex sculptures in which their colors (faded to bright) and textures (smooth or fuzzy) add essential qualities to finished forms that
