Stephen Wirtz Gallery announces an exhibition of a new series of photographs and video works by Heidi Zumbrun that explore the form, presence, and potential meanings of mysterious, large-scale, sculptural objects discovered by the artist.
The images in the exhibition emphasize the lack of a fixed explanation for these perplexing white sculptural forms. They seem animal-like, with a profoundly visceral appearance and bizarre, skin-like texture that shines with an otherworldly glow in the outdoor light. Like an encampment of cloned pods, they seem alive and inhabit the landscape with an uncertain permanence while suggesting their own hidden, interior environment. Zumbrun creates an imagined narrative by documenting these objects in landscape in a way that is suggestive of a phenomenal event. The viewer may question whether these objects are commonplace and merely unrecognizable in the context of the presentation, or follow Zumbrun’s suggestion by allowing their imagination to develop alternative possibilities. Zumbrun’s act of appropriating these objects while resisting the definition of their intended purpose creates a situation of suspended interpretation and invites one to muse on the aesthetic value of an object in the artist’s self-created world.
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The images in the exhibition emphasize the lack of a fixed explanation for these perplexing white sculptural forms. They seem animal-like, with a profoundly visceral appearance and bizarre, skin-like texture that shines with an otherworldly glow in the outdoor light. Like an encampment of cloned pods, they seem alive and inhabit the landscape with an uncertain permanence while suggesting their own hidden, interior environment. Zumbrun creates an imagined narrative by documenting these objects in landscape in a way that is suggestive of a phenomenal event. The viewer may question whether these objects are commonplace and merely unrecognizable in the context of the presentation, or follow Zumbrun’s suggestion by allowing their imagination to develop alternative possibilities. Zumbrun’s act of appropriating these objects while resisting the definition of their intended purpose creates a situation of suspended interpretation and invites one to muse on the aesthetic value of an object in the artist’s self-created world.
Stephen Wirtz Gallery announces an exhibition of a new series of photographs and video works by Heidi Zumbrun that explore the form, presence, and potential meanings of mysterious, large-scale, sculptural objects discovered by the artist.
The images in the exhibition emphasize the lack of a fixed explanation for these perplexing white sculptural forms. They seem animal-like, with a profoundly visceral appearance and bizarre, skin-like texture that shines with an otherworldly glow in the outdoor light. Like an encampment of cloned pods, they seem alive and inhabit the landscape with an uncertain permanence while suggesting their own hidden, interior environment. Zumbrun creates an imagined narrative by documenting these objects in landscape in a way that is suggestive of a phenomenal event. The viewer may question whether these objects are commonplace and merely unrecognizable in the context of the presentation, or follow Zumbrun’s suggestion by allowing their imagination to develop alternative possibilities. Zumbrun’s act of appropriating these objects while resisting the definition of their intended purpose creates a situation of suspended interpretation and invites one to muse on the aesthetic value of an object in the artist’s self-created world.
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The images in the exhibition emphasize the lack of a fixed explanation for these perplexing white sculptural forms. They seem animal-like, with a profoundly visceral appearance and bizarre, skin-like texture that shines with an otherworldly glow in the outdoor light. Like an encampment of cloned pods, they seem alive and inhabit the landscape with an uncertain permanence while suggesting their own hidden, interior environment. Zumbrun creates an imagined narrative by documenting these objects in landscape in a way that is suggestive of a phenomenal event. The viewer may question whether these objects are commonplace and merely unrecognizable in the context of the presentation, or follow Zumbrun’s suggestion by allowing their imagination to develop alternative possibilities. Zumbrun’s act of appropriating these objects while resisting the definition of their intended purpose creates a situation of suspended interpretation and invites one to muse on the aesthetic value of an object in the artist’s self-created world.
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