new-york

Bryan Hunt

Blum Helman Gallery

Bryan Hunt’s sculpture wavers between the natural, the architectural, and the figural. It may simultaneously evoke a waterfall arrested in bronze and a body stripped of flesh. “Fresh” and “rotten” mix as if they were forms. The work is about such paradoxes. The oppositions are the expected ones—volume and void. stasis and motion—but the real interest is the play of natural and cultural. In the drawings especially, these forms inflect this opposition: the waterfall (nature), the arch (architecture), and the quarry (a place “between” nature and culture, where natural material is extracted for cultural forms—for architecture, for sculpture).

The titles are clues to the figural ambiguity of the sculptures. Caryatid plays on the instability of form: this caryatid is a figure without support—the form wavers between the figural and the architectural (a column or arch). Similarly, The Cloak of

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