Tom Corbin’s The Figure: Portrait and Symbol

Admittedly, Tom Corbin’s exhibition The Figure: Portrait and Symbol at the University of Mississippi Museum brought to mind a different idea then what the work actually invoked. The work is fairly traditional with figurative bronze sculptures and photorealistic portrait paintings. However, there is a complexity in the work, in its entirety, that feels like subversive action is taking place. This appears to occur through observation of the basic elements of everyday life, exploiting memories and emotions to create some idyllic and subjective reality that comes directly from the artist. Continue reading

John Grade’s ‘Middle Fork’ at MadArt Space


MadArt Space, a recently opened street-level studio and workspace at the heart of Seattle’s growing South Lake Union neighborhood, is focused on the artistic process rather than final product. Not only will the spacious site provide ample room for the creation of large-scale, often unorthodox artwork, but it also offers opportunities for the area’s many passersby to get a sneak peek at the action. Who better to inaugurate MadArt Space than the Seattle-based sculptor John Grade, who has made it a point to usher artwork from the boondocks to traditional institutions, and back again. Continue reading

Bucharest Biennale 6: Apprehension. Understanding Through Fear of Understanding


Installation view. Courtesy of the artists, Anca Poterașu Gallery and Bucharest Biennale. Photo by Sorin Florea.

I have been off the bus for approximately ten minutes before I come to the slow acknowledgement that I am definitely on the wrong street. The directions to my hostel contain no street names and my initial sure footed confidence in striding out from the bus stop has slowly turned into the muted realisation that I could very well have been going in the wrong direction since I set foot on this massive central boulevard in Bucharest. Continue reading

Interview with Jessica Harrison

Jessica Harrison Sculpture

Ethel, 2013, detail, mixed media, 22cm x 13cm x 14cm. Courtesy of the artist.

The pretty young ladies from Jessica Harrison’s porcelain sculptures embody grace, poise and gentility even while cradling their bloodied intestines, figure-skating after being scalped or posing post-disembowelment and post-decapitation. These charming creatures do not seem to mind being mutilated. As lovely zombies, they shouldn’t be upset because Harrison is not doing violence to them. She is actually eviscerating the tradition that they represent. Continue reading


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