In “Testimony,” her third solo show at Acuna-Hansen Gallery, Terri Phillips presented seven new sculptures that, while outwardly modest, attest to a certain heroic grandeur. Though evocative more of down-home folklore than of great religious narratives, the works aspire nonetheless to join the extended lineage of art that attempts to give image and form to signs and wonders. Collectively, they reinforced Phillips’s established tendency to conflate the minimal, the humble, and the homespun with the surreal, the epic, and the supernatural.
Among the most spectacular of the artist’s offerings was Meteorite (all works 2007), which served as both a medley of modernist sculptural strategies and a musing on presentations or interpretations of natural phenomena as evidence of divine immanence. In a Brancusian riff on the relation between sculpture and base, a pedestal resembling a cross between an
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