A lone plastic shopping bag, plucked by the breeze, floats gracefully down the street. It is the “muse” of Lucia Hierro, who, although foremost an academic, is also a conceptual artist - a driver of dialogue.
During the pandemic, the Aldrich Contemporary Art Museum in Ridgefield, Connecticut, has been experimenting with ways to bring art out of its white galleries, and into homes within the local community.
A world without art would be a gloomy and dreary place and while art lovers can visit some museums or take a virtual stroll through exhibitions, the COVID-19 pandemic has distanced many not just from their social circles but also from art.
In Genesis Belanger’s exhibition Through the Eye of a Needle, curated by Amy Smith-Stewart, death is an expected, albeit uninvited, guest, at home in the affluent domiciles orchestrated here through tableaux and mise-en-scène.
There’s always something slightly unnerving about Genesis Belanger’s sculptures. Her tableaux of furniture and ceramics, with their crisp edges, soft, buttery textures, and dusty pink and tan hues, are spiked with a sharp, humorous bite.
In her first major solo museum exhibition, Through the Eye of a Needle at The Aldrich Contemporary Art Museum, Genesis Belanger expands her iconic, domestic porcelain and stoneware objects that disavow glazes and anthropomorphize desires.