Sascha Braunig’s Giantess was originally commissioned by High Line Art and exhibited on the High Line, New York, in 2017. The sculpture, produced in nickel-plated bronze, comprises two oversized, sharply-pointed boots with stirrups, Giantess makes the feminine body the subject of a fantasy that is anchored in contemporary social and political experience. Braunig's boots are adornments and weapons for an over-sized warrior.
Stephen Lichty’s Branch series comprises weeping mulberry branches adorned with fine silver chains. The branches have undergone restoration treatments, including injections with a specialist resin used by museum conservators. The chains appear to both hang from the branches and support them. The series furthers Lichty’s juxtaposing of objects from nature with industrially produced materials to produce unexpected visual poetry.
Stephen Lichty’s sculpture Untitled was produced by the artist using traditional woodworking techniques derived in part from boat-building. Despite comprising only wood and nails, the structure of the sculpture is water-tight. Wood and water may be at first a surprising juxtaposition; however, on reflection, the work points to a long and lyrical history of their coming together.
Carboniferous is a series of photographs by Michael Wang that depicts the fossilized forms of ancient plants from coal deposits around the world. These florae formed the earth’s very first forests at a time when shallow seas and swamps covered much of the earth’s landmass. Their remains produced nearly all the planet’s reserves of coal which would provide the fuel for the industrial revolution. While the material imaginary of modernity is dominated by inorganic matter—steel, concrete, and glass—Wang’s photographs, produced in a modernist idiom, with very subtle areas of color, reveal the hidden organic origins of the modern world.