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In their shape, mode of presentation, and materials, Bisig’s sculptures contain resonances and echoes of sculptural history, in particular the European modernist Avantgarde.
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Thus deeply postmodern, Bisig’s recent series of collaged paper cutouts, Studies in the History and Criticism of Sculpture (2024––ongoing) hybridize or a smash-up two extremely disparate sources.
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Meanwhile, sculpture has been pulled apart and reconstituted many times, while remaining a four-dimensional challenge for maker and viewer alike. I am sympathetic to the destructive impulse that flares up when faced with the past while you try to be authentic, or allow the new.
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In Bisig’s curvy marble manifestations, Constantin Brancusi also lingers in the peripheral vision, as do the visionary and utopian impulses of Jean Arp and his first wife Sophie Taeuber-Arp, considering also the salon-like installation of his works in the gallery.
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