#christinaforrer

[birdobeaverhousen]

Gebunden ll, 2020 #christinaforrer #tapestry #art #textileart #artist (at Hammer Museum) https://www.instagram.com/p/CPbO4e4hbjO/?utm_medium=tumblr

[willhutnick]

Christina Forrer at Corbett vs. Dempsey @corbettvsdempsey @christinaforrer #christinaforrer #corbettvsdempsey #chicago (at Corbett vs. Dempsey)

[lovewatts]

#ChristinaForrer #lovewatts

[dramasprite-blog]

#TTTOPart #TTTOPlikes #TTTOPsart 170111 (KST) @choi_seung_hyun_tttop 's like 💖🖌💚🎨➡ @jonasbrwood IG ・・・ #magdalenasuarezfrimkess #rubyneri @rubyroseneri #christinaforrer @christinaforrer #RubyNeri (aka Reminisce) Slaves and Humans July 23 — August 27, 2016 #DavidKordanskyGallery is pleased to announce Slaves and Humans, an exhibition of new ceramic sculpture by Ruby Neri. The show will open on July 23, 2016 and remain on view through August 27. An opening reception will be held on Saturday, July 23 from 6:00pm until 8:00pm. In her sculptural practice Ruby Neri embraces a broad spectrum of figuration, drawing upon idiosyncratic 20th century West Coast traditions as well as a global catalogue of art historical and anthropological modes. Over the course of the last two decades she has moved fluidly from one material to another, including plaster, metal, and paint, to generate highly personal works of emotional immediacy. While she has frequently turned to ceramics, Slaves and Humans marks the first time she has produced an entire body of work within the traditional bounds of this medium, relying solely on fired clay and glazes to generate forceful, highly sexualized representations of the female form. The largest works on view are totemic, life-sized vessels that stand directly on the floor, while others take shape as sculptural vases and pots installed on pedestals. Together the assembled objects enact a tableau of frenzied and interlocking bodies. The functional elements of vessels, namely cylindrical volumes and tubular handles, provide the surfaces on which Neri inscribes figurative imagery. These same elements often constitute the sculptural forms from which the figures’ bodies are constructed; handles, for instance, double as arms or lengths of braided hair. The figures, then, regularly serve as containers even as they are contained, both empowered and bound by the typologies and histories that define them. Caught in a cyclical process of capture and liberation, they depict the tumultuous nature of desire, which binds people to each other and breaks them apart again in visceral ways that exceed rational explanation." (Cont.) (at David Kordansky Gallery)