Piero Golia, Untitled #1, 2010–11, concrete, 3 1/2 x 9 1/2 x 9 1/2".

Piero Golia

Gagosian | Beverly Hills

Piero Golia, Untitled #1, 2010–11, concrete, 3 1/2 x 9 1/2 x 9 1/2".

Angel food, kugelhopf, savarin, pound, fleur-de-lis, Bavarian bundt: a dozen ring-shaped cakes, each a unique sculptural form cast in white concrete elegantly gridded the gallery, set atop tall rectangular pedestals in three neat rows, four deep. Piero Golia received the elaborate bakeware set that molded this lot as a wedding gift some years ago. The pans sat cold in the cupboard until his divorce, when they came to mean something other than they had. For his show this past summer at Gagosian, Golia concretely figured the recently compounded emotional weight of the pans’ readymade volumes as hard, opaque solids. Entombing their hollows, he transformed them, Medusa-like, into emphatically inedible blocks of tooth-shattering density, deadweights hardened around an absent core—one-to-one scale micromonuments to broken domesticity.

Beyond the pathos of their genesis, Golia’s “

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