The tip is nigh for Kira Freije’s steel sculptures. The pair of figures in fireworks (all works cited, 2022) turns out to have taken the inside track smartly: One drapes a comforting hand at the different’s again as they stare out the window, complacent in every different’s corporate. Or perhaps, because the paintings’s identify suggests, they’re simply playing the pyrotechnics in combination. In permanence of a sacred tongue, a stainless-steel and solid aluminum determine of a lady bends down on one knee, her mouth agape and her fingers clasped in prayer. Is she hoping for salvation in her ultimate moments or just misplaced in venerative ecstasy? Oscillating between elation and trepidation, Freije’s humanoid paperwork experience the type of emotional ambiguity regularly present in medieval apocalypticism.
Freije’s aesthetic fascination with the Center Ages extends past the poses of her topics to the rudimentary candelabrums and censer-like lamp sculptures putting across the room. For works like infallible Mariner, river through evening, and Autumn nightfall, Freije has manually blown glass inside a metal body in order that the fabric bulges from the gaps in its enclosure. The motif of the cage continues within the anthropomorphic figures, whose barrel-like torsos endure a powerful formal dating to Caroline Mesquita’s hedonistic steel robots. While Mesquita reduces her paperwork to mechanical shells, Freije’s intricate aluminum limbs and faces upload some extent of tactility (and thus humanity) to an differently inanimate armature. Her figures portend sun shades of our present flirtation with the tip instances, a reminder that the sort of juncture can elicit agony and solace, regularly on the similar time.