Installation for the 2013 Carnegie International

  • Cemetery (cobblestone, bronze, clay, acrylic, and concrete) © Carnegie Museum of Art
  • Installation view © Carnegie Museum of Art
  • Venus on Fire (bronze) © Carnegie Museum of Art
  • Mineral (bronze, concrete, clay, acrylic, and wax) © Carnegie Museum of Art
  • Detail of Mineral © Carnegie Museum of Art
  • Detail of Mineral © Carnegie Museum of Art
  • Detail of Mineral © Carnegie Museum of Art
  • Installation view © Carnegie Museum of Art
  • Gerbera (concrete and wax) © Carnegie Museum of Art
  • Egg Moon (concrete, wax, styrofoam, and cold porcelain clay) © Carnegie Museum of Art
  • Quail (concrete and stones) © Carnegie Museum of Art
  • (L to R): Small Golden Book (concrete and wax); A4 (concrete and wax) © Carnegie Museum of Art
  • The Book of Gems (concrete and wax) © Carnegie Museum of Art
  • Dalmatian (concrete and acrylic) © Carnegie Museum of Art
  • Jaws (concrete and wax) © Carnegie Museum of Art
  • Installation view © Carnegie Museum of Art; Note: Egg Tower is currently off view
  • (L to R): Swan with Hammer (bronze and sledgehammer); Egg Tower (bronze, eggshells, concrete, and wax) © Carnegie Museum of Art; Note: Egg Tower is currently off view
  • Installation view © Carnegie Museum of Art
  • Balls (concrete) © Carnegie Museum of Art
  • Big Golden Book (concrete and wax) © Carnegie Museum of Art
  • (L to R): Encyclopedia (bronze); Moon (bronze and wax) © Carnegie Museum of Art
  • Girl with Pearl Earring (bronze, acrylic, wax, and stone) © Carnegie Museum of Art
  • (L to R): Call Girl (bronze and cold porcelain clay); Flower (bronze) © Carnegie Museum of Art
  • Encrusted (bronze and stones) © Carnegie Museum of Art

Date: 2013

Materials: 21 mixed-media wall-mounted and floor sculptures

Dimensions: Variable

Credit: Courtesy of the artist and Galeria Fortes Vilaça, São Paulo

Erika Verzutti’s work reveals the beauty and symbolic power of common objects with enigmatic properties. Interested in the formal qualities of things found in nature, Verzutti transforms fruits and vegetables, with their potential for decay, into more permanent sculptures made of bronze and concrete. In her installation here of new work, a totemic tower of eggs implies some absurd ritual commemorating endless reproduction, life and death. Within this shrine-like atmosphere, sculptures of cut gem stones and hieroglyphic tablets illustrating the cycles of the moon augment a sense of ceremonial mystery. The abundance of forms is arranged in a rather unmonumental way, mostly installed directly on the floor. The intuitive and material qualities of Verzutti’s work recall the mid-20th-century Neo-Concretist movement in her native Brazil, which rejected mechanized and overly intellectual approaches to art making in favor of a sensual, intuitive relationship between the artist and the object. Yet the accumulation of forms subverts the autonomy of a single object, suggesting that the fecundity of the parts is equal to the whole.

Audio

Co-curator Tina Kukielski on the work of Erika Verzutti

Forum Gallery