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 to contract and expand within one’s mind after the first encounter. Having almost as much to do with drawing and painting as with sculpture, those works, with their diaphanous qualities, linear rhythms, delicate simulacra of lacework, planes, and splashes of color, toy with light, space, and ways of seeing. Like Zezmer’s more recent works, her still startlingly fresh, path-breaking early works make us ponder how we tie bits and pieces of information together to create meaning. …see the entire article in the print version of June’s Sculpture magazine.