New York gallery Brennan & Griffin recently opened The Word-Killer, the highly anticipated solo show of works by on our favorite intervieweesSacha Ingber


Titled The Word-Killer, Ingber’s solo exhibition challenges notions of depth, perception, and materiality, creating playful models of domestic and architectural imagery, dynamic in their assembly and physical presence. Found/familiar object-ness and craft take root in the same field, and sharing similar poetic sensibility with Ree Morton, Ingber creates cerebral sculptures with conjoined dimensions: biomorphic contours and other geometric motifs combined with gritty ceramic textures are employed pictorially to create map and legend simultaneously. 


It is evident a story with lyrical ideologies is being told, and the clues are all too inviting not to track. Secret cloisonné diagrams and several devices for measuring human form adorn an elegant wall sculpture “Conspiracy of Mass;” while in “B-E-L-O-W-A-B-O-V-E”, actual padlocks hang in a birdcage-like ceramic construction, threatening to confine the interior sexuality. Here is an artist who transcends compartmentalized material usage: one can find a checklist of light industrial product in the work. Aggregate volumes of resin, handmade paper, bound with discarded notebook spirals, create intimate journals of abstract imagery. All of this, tangent to locker room padlocks, ceramic forms, alabaster, and semi-precious metals, act as chorus, harmonizing for the sake of the narrative. 

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Sacha Ingber’s solo presentation The Word-Killer is on view at Brennan & Griffin through March 28, 2020.