New York

Cathy de Monchaux

Sean Kelly Gallery

Meret Oppenheim on steroids, accoutrements one might find in a dominatrix’s dungeon as outfitted by Industrial Light + Magic: It’s easy to get flamboyant describing Cathy de Monchaux’s sculpture. An alumna of Goldsmiths College in London, she shares some of the concerns of her YBA colleagues—an interest in seriality and repetition inherited from Minimalism combined with a propensity for brash decadence that seems to be drawn from Pop. But de Monchaux’s work functions within a symbolic code that is all her own. The two-venue show, “Mordant Rapture,” the artist’s second solo outing in New York, could be read as one continuous exhibition, or as two installations mirroring one another—doubleness of effect being central to the experience of this work. Painstakingly handmade and delirious with associations (the press release suggests “religion, shamanism, social taboos, Freud, Poe, Sade, Brothers

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