For thirty years Manders has developed an ongoing “self-portrait as a building” composed of sculptures, installations, and drawings. Unresolved narratives circulate throughout his evolving tableau, which imbues everyday objects, furniture, and representations of people and animals with a somber, psychologically charged tension. This enigmatic female visage, compressed between strips of wood, looks as if it were made from wet clay rather than painted epoxy, reflecting Manders’s interest in figures that are physically incomplete. For the artist, sculpture is an ideal form because “it is composed of frozen thoughts that are frozen together in one single moment and yet it takes time to circle around with your mind.”
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