Despite the ominous title “The Word-Killer,” Sacha Ingber’s exhibition at Brennan & Griffin showcases her wildly creative practice. The seven sculptures on view are delightful hybrid concoctions melding practices once dismissed as craft (ceramic, mosaic, blown glass) with paper pulp, silicone, brass, found objects, and more. By bringing together these disparate materials and processes, Ingber generates bewitching juxtapositions of everyday objects and forms charged with symbolism.
The first work visitors encounter, for instance, Keratoconus and things getting Hot (2013–20), is laden with references. Its title namechecks an eye disorder, which might explain its pair of glass globes. But the sculpture is also a BBQ grill made of ceramic and steel, as well as a giant hourglass—its lower chamber is filled with a pile of sand. An overly literal interpretation could be to see it as a finger-wagging harbinger of environmental apocalypse: Things are getting hot due to humanity’s lack of vision, and time is running out. But to straitjacket Ingber’s works into such readings would be limiting. Her stellar formal exploits conjure a sense of wonder with their how-did-she-do-that material invention and their ability to spark constellations of meanings.