New Hydrostone Sculptures by Daniel Arsham Isolate Human Gestures

October 30, 2015

Kate Sierzputowski


“Pyrite Hands in Prayer” 2015 (All images courtesy Galerie Perrotin)

We’re no stranger to Daniel Arsham‘s figural sculptures (previously here and here), works that use basic materials like broken glass or hydrostone to produce life-size human figures and technological objects like boom boxes, cameras, and video game controllers.

In his newer works Arsham focuses more intently on the human figure, creating full bodies and discrete gestures like hands folded in prayer, clasped together, or clutching a basketball. In each, the sculpture is seen in various states of decay, chunks missing from the work like it has been eaten away by some menacing force. Erosion is most apparent within the full body sculptures as entire knees, legs, and torsos are removed from the form. Like earlier work these sculptures keep a neutral palette—the pyrite, hydrostone, selenite, and obsidian used in their construction giving each a matte gray in order to focus on their crumbling form.

The New York-based artist is one half of Snarkitecture, a collaborative that is known for straddling the line between art and architecture. Arsham’s work has been exhibited at PS1 in New York, The Museum of Contemporary Art in Miami, The New Museum in New York, and Carré d’Art de Nîmes in France among others. Arsham is represented by Galerie Emmanuel Perrotin in Paris, Hong Kong and New York, OHWOW in Los Angeles, Baro Galeria in Sao Paulo and Pippy Houldsworth in London. (via Exasperated Viewer on Air)


“Pyrite Hands in Prayer” 2015


“Pyrite Hands in Prayer” 2015


From the exhibition “Fictional Archeology” at Galerie Perrotin Hong Kong , 2015


“The Dying Gaul Revisited” 2015


“The Dying Gaul Revisited” 2015


From the exhibition “Fictional Archeology” at Galerie Perrotin Hong Kong , 2015


From the exhibition “Fictional Archeology” at Galerie Perrotin Hong Kong , 2015


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