This exhibition, Vincent Fecteau’s largest yet, featured a selection of sculptures that date back to 2000, allowing connections to be drawn between several strands of his oeuvre. The San Francisco–based artist frequently remarks that his is a slow process; he usually works on several related efforts at the same time, so that maintaining a cohesive ensemble becomes a constraint that guides his creative thinking.
As the visitor entered the nineteenth-century Kunsthalle Basel’s expansive skylight hall, she encountered seven papier-mâché sculptures, produced between 2000 and 2006, that were poised on plinths arranged throughout the room. Surrounding them on the gallery walls was a new series of thirteen theatrical miniatures set in black boxes (all 2015), three-dimensional collages with which Fecteau reprised his early work in the genre. In some cases, the artist integrated images he
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