Francesco Barocco’s sculptures reconsider art history through conflicting modes, pairing elegant 2-dimensional forms with malformed sculptural material that would have once held the subject’s likeness. The effect is both striking and eeries, as the ancient figures appear contemplative in some works, and in agony in others.
“Francesco Barocco urges shapes to become something different, to move towards a formless dimension,” Google’s Arts & Culture says. “In his three studies where he works on the idea of heads, he sets himself on the border between languages, cultures and visions, and reflects on the longevity of certain “timeless” images: he selects three classical icons and disfigures them, placing them on traditional studio ‘pedestals.’”
See more of the artist’s work on Norma Mangione Gallery’s site.
In her new sculptures and digital paintings, Debora Cheyenne helps forge the current evolution of Afrofuturism. Her new show at Barney Savage Gallery, titled “Entre Vues,” offers themes of “post-web racial and Pan-African identity,” in her signature soft hues that are visceral in their sculptured form.
The frozen textiles in the outdoor installations of 
While the kaleidoscope is an age-old technology, 
Tracey Snelling's installations are immersive blends of sculpture, video, and photography, her makeshift buildings containing surprises in their windows and corners. Her recent, massive construction at the 58th Venice Biennale reflects on her experiences living in China, in particular. Videos shown within offer peeks into her experiences with friends; structures are inspired by actual places she visited.