Oren Pinhassi
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Oren Pinhass’s practice integrates architecture and sculpture in the making of fantastical forms, employing found objects as well as replicating such objects in various media. His sculptures are frequently a combination of the superfluous and the ergonomic, erring towards the utopian with a nod to arte povera. Pinhassi seeks to collapse the distinctions between categories, and in doing so echoes, but does not resemble, the earlier work of the Israeli-French artist Absalon. Pinhassi’s work has a strong material presence, based on the pigmented plaster and sand composite with which he builds up his objects on welded steel armatures. More than mere presences, however, they mimic objects in the world and seek to render visible the way that humankind builds the world in its own image. Chairs and limbs become interchangeable, voting booths become personages. The aesthetic is sparse but resonant.
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Oren Pinhass’s practice integrates architecture and sculpture in the making of fantastical forms, employing found objects as well as replicating such objects in various media. His sculptures are frequently a combination of the superfluous and the ergonomic, erring towards the utopian with a nod to arte povera. Pinhassi seeks to collapse the distinctions between categories, and in doing so echoes, but does not resemble, the earlier work of the Israeli-French artist Absalon. Pinhassi’s work has a strong material presence, based on the pigmented plaster and sand composite with which he builds up his objects on welded steel armatures. More than mere presences, however, they mimic objects in the world and seek to render visible the way that humankind builds the world in its own image. Chairs and limbs become interchangeable, voting booths become personages. The aesthetic is sparse but resonant.