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In her practice, New York-based sculptor Bat-Ami Rivlin often makes use of unassuming, mass-produced materials such as zip ties, tires, and metal shelving, deploying them in deceptively spare arrangements that bends their intended functionality to logical but self-negating ends. Rivlin’s work is sometimes positioned within a framework of material appropriation—minimalism-inflected commentary on industrial production and the built environment. But although this framing informs her work in a general sense, Rivlin’s practice is ultimately in pursuit of something more slippery, delving into the tensions between phenomenological experience and the cognitive determinism produced by language and context. Her works quietly disrupt and reorient the relationship between familiar materials and the ways we perceive them, acting as subtle perturbations in the cognitive-linguistic mesh that holds our understanding of things and their functions together.
For her project at lower_cavity,...More
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Press Release
In her practice, New York-based sculptor Bat-Ami Rivlin often makes use of unassuming, mass-produced materials such as zip ties, tires, and metal shelving, deploying them in deceptively spare arrangements that bends their intended functionality to logical but self-negating ends. Rivlin’s work is sometimes positioned within a framework of material appropriation—minimalism-inflected commentary on industrial production and the built environment. But although this framing informs her work in a general sense, Rivlin’s practice is ultimately in pursuit of something more slippery, delving into the tensions between phenomenological experience and the cognitive determinism produced by language and context. Her works quietly disrupt and reorient the relationship between familiar materials and the ways we perceive them, acting as subtle perturbations in the cognitive-linguistic mesh that holds our understanding of things and their functions together.
For her project at lower_cavity,...More
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