Anne Hardy’s architectonic forms and assemblages of decorated debris appear as alien building blocks governed as much by a calculated configuration of misshapen objects as by Duchampian conceits. Part of a poetic platform, these elements, when combined, are meaningful in the moment, yet curiously irrelevant. Like a stranger encroaching on a family photograph, Hardy draws attention to the alien-ness of familiar settings. Her arresting colors and creative candor turn everything into art, while the interplay between competing impulses to welcome and ignore viewers generates an alluring alchemy. Hardy applies the same kind of theatricality and distancing that she once used in photography to her installations and objects. The enforced remove means that viewers “still have to imagine.” …see the entire article in the print version of September’s Sculpture magazine.
