Sculpture is traditionally about the body. Mathilde Roussel alludes to the body indirectly, by way of sheets of paper or rubber hanging from the wall, which she refers to as skins, and amorphous columns built up of masses inspired by her study of overdeveloped musculature. Both the hanging skins and the stacked muscles tackle the issue of gravity, as all sculpture does, and thus poetically reference the network of life across our planet-a resonant subject in this age of growing environmental crisis. In Training Session (2015), biomorphic paper-pulp volumes draped over metal bars seem to have escaped from Duchamp’s The Bride Stripped Bare by Her Bachelors, Even, a meditation on male lust. Generation, transformation, time, ideals of beauty and productivity, desire, life systems, decline, and death all fall within the scope of this French artist. …see the entire article in the print version of Jul/Aug’s Sculpture magazine.
