New York

View of “Nicole Cherubini,” 2019. Foreground from left: Red One, Athena, 2019; Chair 1—blue VW bus, 2019. Background from left: Chair 5—turquoise with shard, 2019; Deep Blue Sea, 2019; Chair 4, 2019.

View of “Nicole Cherubini,” 2019. Foreground from left: Red One, Athena, 2019; Chair 1—blue VW bus, 2019. Background from left: Chair 5—turquoise with shard, 2019; Deep Blue Sea, 2019; Chair 4, 2019.

Nicole Cherubini

Derek Eller Gallery

No single word suffices. To describe Nicole Cherubini’s sculptures as “urns” connotes antiquity’s lost grandeur, archaeological recovery, or the ashes of the departed. To call them “pots” implies decorative home wares, Sunday ceramic workshops, and that scene from Ghost. “Vase” is too elegant, “vessel” too vague. “Specific object” has the benefit of stressing a phenomenological dimension but is otherwise useless. In any case, volumes assuming the shape and material histories of clay containers have been the central motif of Cherubini’s work for more than twenty years. Here, the artist included two additional motifs. On the floor, four ceramic sculptures based on Charles and Ray Eames’s classic design for a plastic shell chair stood alongside three of her signature pots. From the wall hung two ceramic disks, the apparent inspiration for the exhibition’s title, “Full Moon.”

To be clear,

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