Michelle Segre’s extraordinarily eclectic work juxtaposes forms, processes, materials, textures, colors, and ideas to exhilarating effect. Hers is difficult work that comes—as far as my own experience tells me—with a steep learning curve, because it pulls the rug from under one’s expectations regarding sculpture. With Segre, one suddenly realizes, again, that the time has come to shake off tradition and play catch-up. Her anti-hierarchical, handmade sculptures often engage space in new and interesting ways, using painting—which Segre studied in art school in the ’80s—as a starting point. She employs a version of Surrealism that runs amok, at its fun-loving best (think Mirò) and happily devoid of excess luggage. Segre is a risk-taker—as are the dealers who show her work and who deserve praise for doing so. She rocks the boat, hard. We still need that today, surprisingly enough. Big time…see the entire article in the print version of June’s Sculpture magazine.