Haris Epaminonda, VOL. XVII in The New Yorker
March 24 2016 – April 23 2016
In the spellbinding sculptures of this Cypriot artist, fragments from the natural world find their counterparts in shards of historical materials. In one work, a palm frond is suspended from a metal armature above a sheet of gold foil. A plinth supports a bronze cast of a Japanese lobster, its antennae jutting into the air; nearby, a Chinese vase rests on the floor. Less is more for Epaminonda, a master of understatement. Think of her wooden fish regarding itself in the mirror as one of our primordial ancestors, contemplating evolution in our era of selfie-drenched narcissism.