The Adelphi University Outdoor Sculpture Biennial 2016-18 will be up from July 31, 2016, to May 31, 2018. All are welcome to attend the free reception on Saturday, September 17, 2016, from 1:00 p.m. to 3:30 p.m. beginning in the Ruth S. Harley University Center lobby. A walking tour of the work with the sculptors themselves, accompanied by al fresco refreshments, will begin promptly at 1:30 p.m.
A corresponding exhibition will be on view in the Ruth S. Harley University Center gallery from Sunday, August 21 through Sunday, September 25, 2016. This Biennial Highlights exhibition will give behind-the-scenes glimpses—on display will be preliminary notes, sketches, scale mock-ups, photographs of the works in other locations, as well as photographs of their installation on our campus.
Featuring the works of sculptors:
Home | repurposed wood, steel, glass | 96 x 96 x 96 in.
My work explores the complex, evolving relationship between our body and culture. Through my work I strive to be accessible and provocative by juxtaposing recognizable with unexpected forms. I prefer to work with common building materials such as paper, wood, cement and steel to make my sculptures. These materials seem almost comforting, as they are so familiar to us. I am Interested in the “making” of the piece as well as the finished piece. The majority of my pieces take place outside, readily available to passersby. My goal is create work that stimulates curiosity and humor. I want my art to appeal to many.
Barrier No. 6 | wood, tires, metal | 48 x 88 x 20 in.
The barrier construction is a symbol of revolution that exemplifies a resistance toward oppression and inequality as well as a literal method, whether inclusively or exclusively, to define and interrupt space.
Historically built by citizens to protect their freedoms from anyone seeking to oppress them, these home-grown barricades employ items available to common people–items they find in their homes, in the street and in the garbage.
Once constructed, they function beyond just that of a physical barrier. They evolve into places of shelter, places for political reform, places for communal meetings and places for reflection. These constructions and the materials they are built from take on a meaning greater than their humble beginnings and, ironically, become aestheticized by the public–the ultimate in institutional critique, the ultimate in anti-propaganda, the ultimate in street art. These barriers are built out of necessity, yet contain a stark reflection of our history and a glimpse into our future.
Damfino: Chris Esposito + Matt Greco
Everybody Wants One | wood, steel, aluminum, foam rubber | 68 x 110 x 30 in.
Everybody Wants One is an ironic duality that plays on the fear that leads to a global need for nuclear weapons, while also exposing humanity’s increased infatuation with, distraction by and mastery of science, flight and the unknown. Inspired by the post-Cold War environment of fear, but also of incredible innovation and scientific boldness, the work offers a reflection on the creative and destructive nature of humanity. We all have a little Dr. Strangelove in us.
Damfino: Chris Esposito + Matt Greco
SS Damfino | wood, rope, metal, plastic, paper
SS Damfino examines the historical nature of commerce and our conflicted relationship to it. The movement of goods around the world propagated a movement of ideas and acceptance but also came to create an opportunity for oppression and a voraciously consumerist society. Being made entirely by hand of wooden shipping pallets, reclaimed wood and recycled materials, the SS Damfino attempts to reconcile this conflict we have with the traditional human experience of building and sharing of goods and knowledge, as well as the superficial modern condition of entirely disposable goods and knowledge.
Grove: Adelphi | safety pins
This installation consists of 90 spiral sculptures in a variety of sizes and colors; two are covered with cotton paper pulp. I am creating a landscape here imagining young trees are growing out of the field here and there in playful manner.
When I developed this form in 1996, it struck me as similar to the bamboo shoots I used to enjoy seeing every spring on a roadside with full of energy near my childhood home in Japan.
I construct circular formations using safety pins. I don’t use any adhering materials or welding. The pins rust quickly when it left outdoors, the different stage of rusting create the color tone for over all installation.
It is fascinating to me that such a small, invisible and personal item can be used to construct a strong spiral sculptures that can stand on its own simply by the way the pins interlock.
Hybrid + Aurora | steel and rope
I think about our human condition and the things that connect and bond people together. Emotional, chemical, spiritual, digital, mechanical and physical bonds all come into play. Within all of these are tangible and intangible elements.
I am inspired by the woven Web of the Internet, the binary code of zeros and ones of digital processing and computer languages, as well as systems of towers and satellites surrounding the planet. All of this information is shared, all of us communicating and connecting through vast networks of social media.
Then there is nature and its systems of connectivity–our bodies, functioning subsystems, nervous system, reproductive system, electromagnetic system and the subatomic connections of atoms and molecules. In the natural breakdown and rebuilding of the Earth, we are literally all connected through these processes, breathing in the air which trees breathe out.
High Smoke Point Yellow, Spot Free Clean Green, A Softness You Can Feel Blue | Found repurposed plastic bottles, machine screws, nuts, wire, car tires
My work begins with discarded and found objects. I reclaim materials I find while walking my dog, especially the brightly colored plastic bottles left in curbside recycling. I seek to draw the viewer’s attention back to these discards—to take a moment to notice how wonderful they are.
I dissect the bottles by cutting them with scissors and box cutters, leaving the edges smooth yet sharp. I remove all branding and labels before I reconfigure the plastic back together with a combination of wire, machine screws, hex nuts and washers. The ease of assembly enables spontaneity and lends a playful quality to the work.
I explore my love–hate relationship to consumer culture, manifesting in these found–object sculptures created from repurposed consumer plastic. By bringing attention to these materials I also hope to suggest a humorous approach to the futility of mass consumption of material resources in contemporary life.
For The Adelphi Bunnies | polypropylene, silicone, sand, polymer clay
I am fascinated by foods that are consumed as an indulgence, such as fast food and sweets. Their seductive charms, folded into layers of cream and sugar, bewitch my senses. My sculptures embody the desire to possess, consume and memorialize these confections. They are trompe l’oeil replicas of food that offer a way to extend the ecstatic moment of desire. I work in a variety of materials to create different textures similar to food.
As an alumna of Adelphi University, I have always been delighted by the sight of the bunnies that roam around campus. In honor of them, and the youthful glee they evoke within me, I created three yellow bunny figures. They are modeled after marshmallow Peeps, a candy similarly indicative of childhood, spring and cheer.
Miggy Buck | miggybuck.com
Chris Esposito | chrisesposito.net
Matt Greco | mfgreco.com
Tamiko Kawata | tamikokawata.com
Thea Lanzisero | thealanzisero.com
Niki Lederer | prod.nikilederer.com
Lorryn Moore | lorrynmoore.weebly.com