Sara Catapano’s ceramic sculptures appear as absorbing, yet disconcerting biomorphic forms that defy their medium. Though there are otherworldly qualities to these pieces, the artist’s observations here on Earth play a direct role in the creation of her work. She says that “these bio-expressive forms are, in some ways, reactions and responses to social and personal experiences.”
Boston-based painter Nicole Duennebier creates biomorphic paintings that blend the concepts of still-life with vague, sometimes unsettling lifeforms. These growths hint at marine life and other oddities of the natural world. Though, the artist says, the paintings’ subjects are “more spontaneous generations than firmly rooted in actual living organisms.”
The skin-toned, sporadically hairy ceramic sculptures crafted by Jason Briggs can be both unsettling and entice one to touch. The artist says he aspires to create things he’s “never quite seen before.” And as for compelling viewers for closer inspection, that’s part of his charge, too: “Though my objects contain strong visual references, I am more interested in the implied tactile ones; the things that stir in me a compulsion to touch,” his statement says. “Beyond other external inspiration lies this basic, primal impulse. I recognize – and act upon – a profound desire to push, poke, squeeze, stroke, caress, and pinch. I intend for my pieces to invoke a similar sort of temptation.”
Rio de Janeiro native Ernesto Neto is often quoted as saying, “I am sculpture and think as sculpture.” Neto’s been exhibiting internationally since the 1990s, and the artist’s latest biomorphic work is a natural evolution of that oft-cited quote, tailored to the spaces each piece inhabits. From a distance, these new, vibrant installations appear as though they grew inside these walls organically. But Neto’s work isn’t meant to be enjoyed from afar.