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source: lmprojectsnet

Twisted pieces of paper, toothpaste swashes and soap scum, were just a few of the odd findings and castoff materials Brassaï used as subjects in a 1932 photographic series he coined, ‘Involuntary Sculptures.’ The fetish of the found has a deeply rooted history within photography and sculpture and continues to thrive as a leitmotif well into the 21st century. The four emerging and established artists that dot the globe for ‘Voluntary Sculptures,’ relish the discarded and everyday, building upon traditions from 16th century still life painting to Dada and the readymade. The interplay between physical materiality, photographic representation and site specificity are explored.