new-york

Alix Pearlstein

Laurie Rubin Gallery

Alix Pearlstein combines utilitarian objects with commercial materials to make slick wall sculptures that are replete with anthropomorphic associations. Her creations allude comically, but never overtly, to the human body and to the objects we use daily. By intermingling human and nonhuman elements, Pearlstein shows how commercially manufactured objects and materials have become an integral part of our physical existence.

In her game of allusion, the artist often cleverly equates consumer greed with sexual desire, revealing the two to be uncomfortably if inextricably linked. More, More, More (all works, 1989) is constructed to look vaguely like a face. Two disco globes serve as eyes, and the mouth is a velvet rope—the kind that keeps people out of exclusive nightclubs. The artist has chosen objects that are used to manipulate our desire in order to parody this manipulation. Paradise Syndrome

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