Ferguson plies and molds her chosen material, industrial flooring, testing its ability to contain and be contained by new forms. The curvature of Ferguson’s sculptural work draws comparisons to contrappostos and figure serpentinate, idealized Renaissance postures of strength and resistance. Like those strained bodies, Ferguson’s sculptures are caught between moments of unraveling and materializing; wound tightly, we half expect them to resist their compacted pressure and twirl undone. At the same time, these sculptures’ shell-like forms recall the fluid drapery that cloak antiquated figures. By comparison, Ferguson here trades in excavated marble for a superficial layer of densified synthetic stone.
“Most Dogs go to Heaven” is an exhibition of paintings that function together as a collection of reassurances. The individual images, removed and re-purposed from their original contexts can be newly arranged to build a fictional narrative. The works become sacrifices for our collective stability.
Opening reception Thursday January 7 from to