Acrylic, enamel on thermoplastic and panel
8 x 6 x 3 in
This series of wall sculptures was begun in 2020 by injecting color into the grayscale “Drawings in Three Dimensions.” Central to both of these series is a sketchbook whose entries are approached like visual puzzles. An experiment in pareidolia, the sketches begin with a few abstract black marks on a white page and are “solved” by the application of arbitrary rules. The finished compositions invite interpretation by the viewer like seeing shapes in clouds. These two-dimensional drawings are brought up to the third dimension by breaking them apart and reconstructing them as objects. I recreate lines and forms with hand-shaped and painted pieces of thermoplastic mounted on panels. When viewed frontally, the sculptures often appear as little more than lines on a page. However, they reveal their dimensionality when viewed from other angles, challenging the notion that the truth of anything can be fully known from a fixed perspective.
Continuing my ongoing exploration of bias and fallacy, “Bird Brains” matches entries in the cognitive bias codex with the birds that best exemplify them. From black swan theory to the duck test to the proverbial canary in the coal mine, I tap into this rich language to point out the stunning variety and sheer magnitude of ways we humans misconstrue the world.
About Natale Adgnot:
Natale Adgnot is a Franco-American artist who uses abstract drawing and sculpture to explore cognitive bias and logical fallacy. Best known for wall sculptures made of painted thermoplastic adhered perpendicularly onto birch panels, she challenges the viewer to consider her work from multiple perspectives.
Adgnot earned a BFA in graphic design in Texas and studied fashion in Paris. Her experience making garments for haute couture runways led her to focus on sculpture. While living in Tokyo, she began using thermoplastic to work three-dimensionally.
She has been featured in solo and two-person exhibitions at Established Gallery in New York, Myta Sayo Gallery in Toronto and Midori-so in Tokyo. Recent group exhibitions include “Black & White” at BWAC – a show juried by Jenée-Daria Strand of the Brooklyn Museum – where she won an award, and “Sacred Pause, Sacred Fertilizer” at the Nevelson Chapel curated by Marly Hammer and Lisa Wirth of Work in Progress. She lives and works in Brooklyn and New Paltz, New York.
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