요르단 울프슨
ジョーダンウォルフソン

Female Figure

The stare of the animatronic sculpture is so intense, it would put anyone uncomfortable. The mask is probably there as a way to avoid creating a human face using animatronics but it also definitely adds to the creepiness of the overall look. The importance of the gaze is found throughout Wolfson’s work but it finds here a very special interpretation. He gives the ability to gaze to two different entities, a stripper and a robot, who are by definition never supposed to look up. The visitor is no longer in control of the situation, creating the awkwardness that is at the core of the work.

Snake Eyes
Katy Heinlein’s exhibition Snake Eyes challenges the sublime possibilities of symmetry, and indulges in the humor, awkwardness, and flustered physicality that comes with disrupting that symmetry. Heinlein fashions pragmatic materials like wood and aluminum into nimble structures, ready to be wrapped and draped in costumes of brightly colored cloth. Like dressing for a night out, the works take on a very human folly: the effort to conceal, emphasize and seduce.

Cloud
Liz Nurenberg: “Cloud” My Sculptural objects act as experience stations where viewers can form relationships both to the work and to other viewers. Interactivity allows me to explore intimacy, personal space, and how the body physically connects with something while confusing the line between viewers and viewed. The handmade nature of my work evokes intimacy, suggesting the presence of human effort or authorship. Sound acts as an inner voice, which can create a subtle sense of awkwardness. These touches come together to build a scene where interactions happen and narrative forms.