In Roman Polanski’s film The Tenant, a man moves into an apartment previously inhabited by a witch, and finds a tooth buried in a wall. The witch eventually begins to enter his psyche, transforming his identity until he begins to wear her clothing and her tormented persona.
Polanski, removing the fang buried in the wall’s interior, unlocks the wilderness, teeming with its illogical constructions and desires, and brings it into his home.
For her first solo exhibition in New York City, sculptor Priscilla Fusco presents an arrangement of ceramic objects which suggest coral-like living creatures or the diatomaceous sedimentary remnants of their bodies. Many of the individual pieces can be fitted to the human hand or wrist so that the wearer might enter the imagined natural world from which the forms originate, leaving behind intellectual rigor and and other human controls imparted upon the non-human.
Priscilla Fusco creates minimal sculptures in clay and other materials, which seek to channel the complexity of organisms and human mythologies in order to lower humanities awkward place in the natural order. Her recent work in ceramics has focused on concepts of Arthurian folktales, wherein she designs pieces that seemingly have grown their own forms, dagger and stone-like shapes, enthroned in chairs. She also has used a variety of natural found materials in her sculptural installations, which also may include sound and performance.