Mary Early views her spare configurations as records of objects, spaces, and impressions. While these sculptural distillations bear traces of things seen and remembered, they upend expectations, giving their own version of the truth as it might apply to appearances, materials, and processes. Deceptively simple—the kind of work that you might think to grasp at a glance—Early’s forms also, and unexpectedly, record a history of labor, unpacking their supposedly instant gratification over time while unwinding a succession of nuanced contradictions that reward prolonged engagement. …see the entire article in the print version of January/February’s Sculpture magazine.
