Untitled (Figure no. 1)
2020 - Sculpture (Sculpture)
212 x 38 x 46 cm
Oren Pinhassi
Oren Pinhassi’s work examines the relationship between the human figure and the built environment. His hybrid sculptures, often somewhat emaciated, hover between the figurative and the architectural. In the case of The Crowd , a series of sculptures which evince architectures of control – where humans act and exert power – we find voting booths, segregation cells, institutional desks, places where bureaucratic exchange become spaces of bodily desire, complete with sexual appendages. Untitled (Figure no 1) resembles a voting booth, or even a confessional, but it is unmistakably a figure with protuberances for knees, legs, head and torso. The sculpture becomes a fantastical creature situated somewhere between the human and the mechanistic. The grey uniformity of the surface is characteristic of modernist architecture, especially Brutalism, but the sensuous nature of the work belies this purist aesthetic. The interrelationship of the architectural and the human points towards a futuristic hybridity but the social nature of the works, however, is counteracted by their strong sense of independence and isolation. Even when seen in groups they remain separate, mute. Created during a period of confinement they represent the sense of abandonment, or redundancy and isolation felt during this time. Pinhassi’s sculptures are haunting, suggesting the current emptiness of human existence. Much of Pinhassi’s work is concerned with human vulnerability and obstructions that prevent human interaction.
Oren Pinhass’s practice integrates architecture and sculpture in the making of fantastical forms, employing found objects as well as replicating such objects in various media. His sculptures are frequently a combination of the superfluous and the ergonomic, erring towards the utopian with a nod to arte povera. Pinhassi seeks to collapse the distinctions between categories, and in doing so echoes, but does not resemble, the earlier work of the Israeli-French artist Absalon. Pinhassi’s work has a strong material presence, based on the pigmented plaster and sand composite with which he builds up his objects on welded steel armatures. More than mere presences, however, they mimic objects in the world and seek to render visible the way that humankind builds the world in its own image. Chairs and limbs become interchangeable, voting booths become personages. The aesthetic is sparse but resonant.
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