Sculpturesite Gallery is pleased to announce the exhibition of new works by Emil Alzamora, along with the release of the latest Sculpturesite video in the series Inside the Sculptor’s Studio, featuring the artist at work in his studio in Beacon, New York. Emil Alzamora gave Sculpturesite Gallery an exclusive look into his intriguing creative process. Working as a full time sculptor since 2001, Alzamora has been exploring the human figure in a variety of novel ways.
“In Alzamora’s work,” writes Brienne Walsh in Curiator.com, “viewers can experience strange, fantastic things happening to other bodies, and leave assured that nothing will happen to our own. There’s a pleasure in the dark undertones.” There is an evident fascination with strange distortions in Alzamora’s work; not entirely as a creepy invitation to walk on the wild side, although that is definitely part of it, but as a deep exploration of what it means to be human and show one’s emotional makeup and overpowering fears.
Emil Alzamora is also intrigued by how social media is changing the way people relate in profound ways. He posits that there is an evolution of the human species that has begun and is inevitable. His asexual human figures that are sometimes physically connected may indicate new Siamese connections: forehead-to-cheek, as in “Swarm”, or feet-to-belly as in “Phorphyrian Tree”, included in the online exhibition.
One cannot describe Emil Alzamora’s work without mentioning his love of materials and processes. He considers his studio his private laboratory, where he pushes chemistry and physics to extremes in his mixtures of plaster, resin, clay, glass, wood, metal and stone powders. Although very much steeped in the present from a conceptual point of view, and in the play zone while in his studio, Alzamora is always, in the end, concerned with a profound sense of aesthetics. This is what creates multiple layers of appreciation, and ultimately makes his work so appealing.
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“In Alzamora’s work,” writes Brienne Walsh in Curiator.com, “viewers can experience strange, fantastic things happening to other bodies, and leave assured that nothing will happen to our own. There’s a pleasure in the dark undertones.” There is an evident fascination with strange distortions in Alzamora’s work; not entirely as a creepy invitation to walk on the wild side, although that is definitely part of it, but as a deep exploration of what it means to be human and show one’s emotional makeup and overpowering fears.
Emil Alzamora is also intrigued by how social media is changing the way people relate in profound ways. He posits that there is an evolution of the human species that has begun and is inevitable. His asexual human figures that are sometimes physically connected may indicate new Siamese connections: forehead-to-cheek, as in “Swarm”, or feet-to-belly as in “Phorphyrian Tree”, included in the online exhibition.
One cannot describe Emil Alzamora’s work without mentioning his love of materials and processes. He considers his studio his private laboratory, where he pushes chemistry and physics to extremes in his mixtures of plaster, resin, clay, glass, wood, metal and stone powders. Although very much steeped in the present from a conceptual point of view, and in the play zone while in his studio, Alzamora is always, in the end, concerned with a profound sense of aesthetics. This is what creates multiple layers of appreciation, and ultimately makes his work so appealing.
Sculpturesite Gallery is pleased to announce the exhibition of new works by Emil Alzamora, along with the release of the latest Sculpturesite video in the series Inside the Sculptor’s Studio, featuring the artist at work in his studio in Beacon, New York. Emil Alzamora gave Sculpturesite Gallery an exclusive look into his intriguing creative process. Working as a full time sculptor since 2001, Alzamora has been exploring the human figure in a variety of novel ways.
“In Alzamora’s work,” writes Brienne Walsh in Curiator.com, “viewers can experience strange, fantastic things happening to other bodies, and leave assured that nothing will happen to our own. There’s a pleasure in the dark undertones.” There is an evident fascination with strange distortions in Alzamora’s work; not entirely as a creepy invitation to walk on the wild side, although that is definitely part of it, but as a deep exploration of what it means to be human and show one’s emotional makeup and overpowering fears.
Emil Alzamora is also intrigued by how social media is changing the way people relate in profound ways. He posits that there is an evolution of the human species that has begun and is inevitable. His asexual human figures that are sometimes physically connected may indicate new Siamese connections: forehead-to-cheek, as in “Swarm”, or feet-to-belly as in “Phorphyrian Tree”, included in the online exhibition.
One cannot describe Emil Alzamora’s work without mentioning his love of materials and processes. He considers his studio his private laboratory, where he pushes chemistry and physics to extremes in his mixtures of plaster, resin, clay, glass, wood, metal and stone powders. Although very much steeped in the present from a conceptual point of view, and in the play zone while in his studio, Alzamora is always, in the end, concerned with a profound sense of aesthetics. This is what creates multiple layers of appreciation, and ultimately makes his work so appealing.
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“In Alzamora’s work,” writes Brienne Walsh in Curiator.com, “viewers can experience strange, fantastic things happening to other bodies, and leave assured that nothing will happen to our own. There’s a pleasure in the dark undertones.” There is an evident fascination with strange distortions in Alzamora’s work; not entirely as a creepy invitation to walk on the wild side, although that is definitely part of it, but as a deep exploration of what it means to be human and show one’s emotional makeup and overpowering fears.
Emil Alzamora is also intrigued by how social media is changing the way people relate in profound ways. He posits that there is an evolution of the human species that has begun and is inevitable. His asexual human figures that are sometimes physically connected may indicate new Siamese connections: forehead-to-cheek, as in “Swarm”, or feet-to-belly as in “Phorphyrian Tree”, included in the online exhibition.
One cannot describe Emil Alzamora’s work without mentioning his love of materials and processes. He considers his studio his private laboratory, where he pushes chemistry and physics to extremes in his mixtures of plaster, resin, clay, glass, wood, metal and stone powders. Although very much steeped in the present from a conceptual point of view, and in the play zone while in his studio, Alzamora is always, in the end, concerned with a profound sense of aesthetics. This is what creates multiple layers of appreciation, and ultimately makes his work so appealing.
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14301 Arnold Drive, Suite 8, Glen Ellen, CA 95442
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