In Françoise Grossen’s work, intense physicality and presence are wedded to conceptual underpinnings–what an object is composed of is entirely consequential, meaning and purpose lying in material choices. Her objects, made between 1966 and 1999, are deeply and totally abstract yet also metaphorical. They present a concrete poetics of space in which crude materiality reverberates with archetypal and sensual energy. In many conventional pieces of sculpture, material choice may be important, but evidence of the labor that produces it is not. The physical workings disappear, consolidated into the work itself. The artwork is the residue, with little of the fabrication…see the entire article in the print version of April’s Sculpture magazine.