Lynn Aldrich’s newest art-material treasure trove is Home Depot. There, she follows in the footsteps of the seminal bricoleur artist, Marcel Duchamp, scouting for manufactured objects that she subsequently hand-fabricates into sculptures. Transforming the known into something curious, intriguing, and unexpected, her newest sculptures convert drainage spouts into tree monsters reminiscent of German fairy tales
Daphne Wright’s work maneuvers things into what her biographical statement calls “well-wrought but delicate doubt.” Shifting between “taughtness and mess,” it sets “imagery, materials, and language in constant metaphorical motion.” Using a wide range of materials and techniques—plaster, tin foil, video, printmaking, found objects, and performance—she creates beautiful and rather eerie worlds that feel like
A kaleidoscopic transformation unfolds to the soft and soothing drone of a narrator as she guides the viewer through a marvelous land where humans, plants, and objects engage one another. Barriers break down. Identities cross-fertilize. Linear time loses all relevance.
Using pre-consumer and recycled materials—discarded newspapers, crushed soda cans, empty milk containers, and shredded rubber—Steven Siegel creates public art and site-specific installations in natural and urban contexts that reinvent the role of sculpture for an eco-conscious planet.
Mel Chin refuses to be pinned down, hemmed in, or otherwise restricted from pursuing whatever concept fires his imagination—in whatever medium seems appropriate. The Houston-born artist began his career making sculptures based on research into ancient cultures, social issues, and geopolitical subterfuges.
Antony Gormley understands the human body as a place of memory and transformation. Most of his early works are based on the process of casting his own body, which functions as subject, tool, and material. His more recent works deal with the body in abstracted or indirect ways and are concerned with the human condition.