When the artist tunnels naked through clay, one result is this: an elemental frame of bone-white force, stilled in the moment of its most violent eruption. She’s never sure what she’s made.
Not until I remove it from its casing, she says. Here, for example, are some heads. They are made of the impressions of hands. From these, a sculptor thinks. Most of her bodies are headless.
Here is an arm. It points toward a dense nebula, adjusting as the planet beneath it spins, its constant movement borne of an intention to remain still.
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This post is assembled from phrases and images found in this recent BOMB article by Brecht Wright Gander profiling Juliana Cerqueira Leite, whose DECAPITAR is on view at New York City’s PROXYCO until October 29.
