Michelle Segre's extraordinarily eclectic work
juxtaposes forms, processes, materials, textures,
colors, and ideas to exhilarating effect.
Hers is difficult work that comes—as far as my
own experience tells me—with a steep learning
curve, because it pulls the rug from under
one's expectations regarding sculpture. With
Segre, one suddenly realizes, again, that the
time has come to shake off tradition and play
catch-up. Her anti-hierarchical, handmade
sculptures often engage space in new and
interesting ways, using painting—which
Segre studied in art school in the '80s—as a
starting point. She employs a version of
Surrealism that runs amok, at its fun-loving
best (think Mirò) and happily devoid of
excess luggage. Segre is a risk-taker—as are
the dealers who show her work and who
deserve praise for doing so. She rocks the boat,
hard. We still need that today, surprisingly
enough. Big time...see the entire article in the print version of June's Sculpture magazine.
Portal, 2007. Beeswax, papier-mâché, foam, wood, metal, and pigment,
77 x 22.25 x 80.5 in.