Weber uses cardboard as her medium (sometimes cast in bronze for public projects) and achieves beauty from the quotidian on a monumental scale that is both humble and spectacular at the same time. Though recycled, an environmental nod, these sculptures are more akin to Arte
Of dignified wallflowers hanging in anticipation, comforted by anonymity, contemplating identity, their ephemeral revelations bestride bloom and wilt. Inspirited by “floriography,” the Victorian practice articulating complex sentiments and often socially unacceptable messages, Ariane Vielmetter corresponds in floral language in her investigation of the fallen and
By rebuilding physical objects in cardboard or paper, Tomczyk creates an odd interaction for the viewer. Both surprise and awe at the craftsmanship but also an interesting conundrum of expectation and perception where the eyes are fooled by the simulacrum, at odds with what is
In ancient and possibly contemporary (displaced by technology) nomadic culture of unknown origins and undeterminable destinations, the human capacity of transposing existential bandwidth depended on the archival quality of its receptacle, natural tangibles then, intangible codes now. Gala Porras-Kim explores the epistemological capacity of artifacts
SUSANNE VIELMETTER LOS ANGELES PROJECTS Shana Lutker’s demi-stages, rigorously designed quasi-architectural sites that at once frame and enact art-historical moments, would seem to have little to do with the eccentric geometries Bart Exposito paints and draws. But Exposito’s keenly described, looping (and loopy) lines and his
