Michèle Blondel 

Elga Wimmer

For nearly a decade, the French artist Michèle Blondel has been developing the various elements of what has become a unified, installation-oriented, sculptural project. Blondel herself blows precious Baccarat crystal into exquisite phallic and otherwise sexually suggestive forms, and strategically places them in the chapels and choirs of medieval French churches. Hers is less a button-pushing attack on the odious politics of the Church than it is a playful uncovering of the erotic and sadistic underpinnings of Catholic ritual and dogma. Featuring a representative selection of Blondel’s work from 1985 until the present, this show provided a well-rounded view of the artist’s consistently provocative response to her own religious and cultural heritage.

Falling somewhere between the sanctioned orgasmic vision of Gianlorenzo Bernini’s The Ecstasy of St. Theresa, 1645–52, and the intentional

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