FORM AND EMPTINESS Addressed in Three-Dimensions

Shown here (from left to right): 

(1st row) Virginia Mahoney’s Waiting, Natasha Dikareva’s All I want is Peace, Nilou Moochhala’s Rona (Cry); (2nd row) Molly Dee’s Cybele, Miller Opie’s Wandering Rosids, Sylvia Vander Sluis’ Hideout.

“It is only when I shape the form that emptiness comes into play.”

Molly Dee’s sentiment above is echoed in her stone sculpture – this piece exudes strength, weight, and playfulness while still being intimate in size. Her relationship to this piece was over a year, and the care with which she addressed this relationship can be seen through the final form. Natasha Dikareva has created her sculptures in response to the attack on Ukraine. The negative space of the 3D forms are ‘punctured holes’, similar to what the war has brought to her homeland. The emotions on the sculpted faces, covered with a crawling glaze reminiscent of ‘ash’, creates a moment for dialogue and further examination.

Virginia Mahoney’s ethereal hangings weave together confusion and emptiness. In a time where she was challenged in her practice, these sculptural pieces create a new beginning – ideas taking form, no longer empty or silent. Nilou Moochhala uses suitcase assemblage to juxtapose old family photos and memorabilia to convey specific yet universal messages of loss, transition, love, grief...using form to address emptiness.

Miller Opie’s delicate and flawlessly crafted sculptures intertwine vines, fish bones, and stoneware to bring to our attention the fragility of mortality and the what’s left behind. These shapes balance delicately with one another to tell us a story of survival and rejuvenation. For Sylvia Vander Sluis, the concepts related to this exhibit show up in unexpected combinations of kitsch, toys, and construction materials, which embody a raw, liminal fantasy world. The fragility of life is at center stage.

- Nilou Moochhala, Assistant Curator, Form & Emptiness Core Members Exhibition