Minneapolis
Judy Onofrio’s recent exhibition, “Full Circle,” marked a significant and radical departure in both materials and aesthetics from her flamboyant work of the last three decades. Whereas her earlier figurative sculpture, wall reliefs, and installations—some of grand scale—were theatrical, even operatic assemblages, the “Full Circle” works consist largely of vessel forms that collectively suggest a meditative Gregorian chant in which the visual phrasing is melodious, slowly extending into our consciousness. For these sculptural vessels, created over the last four years, Onofrio swapped out her signature materials—an amalgam of found stuff such as buttons, beads, glass and ceramic shards, and metal pins, to name a few—for the simplicity and abstract purity of pale-hued animal bones. In place of a cacophony…see the entire review in the print version of March’s Sculpture magazine.
