Thrasyvoulos Kalaitzidis

Key 365

2019

Floor to ceiling installation: install dimensions variable. Sarah Knouse is a sculptor, designer, and arts educator. She holds an MFA from City University of New York Hunter College...

Sarah Knouse is a sculptor, designer, and arts educator. She holds an MFA from City University of New York Hunter College. Sarah has exhibited her sculptures on an international scal...

Sarah Knouse is a sculptor, designer, and arts educator. She holds an MFA from City University of New York Hunter College. Sarah has exhibited her sculptures on an international scal...

assemblage sculpture: painted wood building refashioned out of an old seed box, constructed old wood toy boat to resemble the Ark, vintage carved & painted an...

This figurative sculpture titled "No Longer Listening" is an original artwork by Jedediah Morfit made of sculpamold, wood, resin, foam, wood, hardware, acrylic, tape. This piece meas...

Arman was an American-French artist best known for his unique style of found-object sculpture. Inspired by the philosophies and aesthetics of Dadaism, the artist gathered forks, inst...

Animatronic spray can sculpture by NTEL that dances and shakes its hips when plugged in. Made with felt, polymer and acrylic and includes cardboard black and silver brick wall. Gen...

Text by Nancy Webb It’s Saturday night and Karine Payette is in her studio. We meander into a conversation about the dog she used to have and her soft spot for German shepherds, an intensely obedient and loyal breed in a deceivingly wolf-like package. Payette’s most recent series of photographs, sculptures and video work seem to speak directly to this preoccupation with the multifaceted nature of human-animal relationships—the dialogues of control, intimacy, violence and domestication that subtly take place on an interspecies level. Her workspace is part laboratory, part prop closet—a bowl of fur sits not far from her computer. Somehow in this bright, open, chemical-clean scented room, Payette conjures wildness. We are taken to a strange place, the borderlands of interspecies mingling. At one extreme of the animal-human dynamics scale is the stalwart compliance of a professionally trained German shepherd who responds to commands with robotic precision. Here, power is comfortably held by an off-screen voice, animality pacified by a set of linguistic prompts. At the other end of the scale is a sculpture of a human figure clad in red, sharing a languorous kiss with a wolf. The story of Little Red Riding Hood is immediately called to mind, except that here our hooded protagonist seems to have bailed on grandmother’s orders, instead opting for a forest floor make-out with her canine stalker. This taboo mise-en-scène is a brazen inquiry into the boundaries we maintain with our animal counterparts. Its scale and three-dimensionality contribute to a feeling of immersion that the artist has been courting with her work for the past several years. It feels as though you’ve just walked in on something: you are implicated and your discomfort is like an invisible mist that coats these inanimate beings. Elsewhere in Payette’s suite of anthropomorphic works, the demarcation between species grows even fainter. A photographic series depicts the slow encroachment of fur, scales and feathers on human skin—a striking process of contamination facilitated by touch. The fusion of flesh, charcoal cat fur and a pale silky dress...