Bad Cat

“A giant cat made of foam and tangerine velvet with a wide, cartoonish, sharp-toothed grimace, almost fifteen feet high, is flipped on its back at the center of the gallery. It’s vulnerable—it looks like it’s yowling—and its shadow is a cut-out wraith of blue carpet.” Erin Schwartz.

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Da Corte often uses surreal imagery and everyday objects in his practice and explores ideas of consumerism, pop culture, mythology, and literature.

Angelika Loderers work is refering to the basic research of form and space. She uses fragile, everyday materials that are derived from the vocabulary of domesticity and combine them with sort of traditional sculptural techniques. In the process the play between chance and control defines the aesthetics of her work. The experimenting with attidudes – via a very specific amalgam of materials, shapes and objects- brings forth a new, metaphysical result. “In transience, fragility and decline, I see the formal expressions to which I refer in my designs, and which to some extent provide the framework conditions for my processoriented work. From the abundance on offer, however fragile and vulnerable in composition, the elements fall into place, becoming worthless once again when dismantled.”

Cutesy Counts
“Uddenberg’s sculptures refuse to conform to this essentialism. Instead, they confront their audience with how it understands feminine appearances and characteristics: is she vulnerable, or is she flexible? Is this dichotomy real? Is she posing, and if so, for whom? Who is she?”

Like living organisms

“Like living organisms” Is an interactive skin-dress that expresses excitement like between two people when they first meet. Our work breathes; it shows a pulse through its veins on the hips and inflates/deflates the shoulder balloons. When approached it responds by increasing its pulse rate through the veins as if it’s excited. It’s now up to the visitor to respond to this excitement. Upon contact the suit will show it’s vulnerable side by deflating the shoulder balloons.