New York

Kathleen Thomas

In her first one-person show, Kathleen Thomas offers a strikingly original and timely vision of small sculpture in the assemblagist tradition. Each work measures less than 10 inches across, and is put together from various surplus industrial materials ranging from electronic components—mostly from aircraft and radios—to rubber gaskets and even deactivated bullets.

Poised between sculpture and object, the works manage to be precious without falling into the dangerous category of cute. Among the sculptural qualities asserted are contrasts in texture and color and a hard-edged specificity of form. Reinforcing the object identity are the Pentagon-like titles (SAT 81, RM 81) which recall the names of missiles and bombers and suggest that these things should “do,” not just “be.”

Still, these are things that“be.” But, more precisely and finely constructed than most “real” American objects/machines, Thomas’ nonfunctional works are ironic comments on the current relationship of American art and industry.

Ronny H. Cohen