The human body was one of the earliest subjects of sculpture, predating galleries or artistic statements or even recorded history. Even today, the functions range from ritualistic to iconographic, decorative to narrative-driven. Seeing the form through the lens of Emil Alzamora, the human form’s possibilities are stretched further. At times, his works feel like allusions to the physical body, marked by familiar positioning and distorted states. And in eroding away the things that may seem personal about a figure, like clothing, facial features, or age, universal stories unfold.