In their shape, mode of presentation, and materials, Bisig’s sculptures contain resonances and echoes of sculptural history, in particular the European modernist Avantgarde.
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.
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.
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.
