Sally Moore

Barbara Krakow Gallery

In her first commercial gallery exhibition, sculptor Sally Moore presented miniature models of the universe that unfold from walls or hang from the ceiling, becoming poetic metaphors for the rebuilding of broken worlds. Basswood-and-wire assemblages that initially appear as lighthearted and delightful homages to Calder’s mobiles or Klee’s Twittering Machine, 1922, ultimately temper playful curiosity with psychological vulnerability. In Fathom, 2004, for example, two tiny wire wings capped with bird feathers balance so delicately on a fish hook that a breath sets them spinning. A total of twelve sculptural assemblages, all from either 2004 or 2005, not only reveals Moore’s prowess at bending wood and wire to create dynamic and often kinetic structures but also signals a cosmic urge to find ways out of darkness and isolation.

The largest work in the show was Night Flight, 2004. Installed at

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