sculpture


vessels



Info

  ~  About
  ~  Newsletter
  ~  Instagram
  ~  Contact




One Day This Will Be Then




Nov 21—23, 2024
5 Eldridge St., NYC An exhibition of ceramic works by Alex Baren, Angelique De Castro, Marie Leocadie and Peloloca. Organized by BEVERLY’S at their off-site art space in Manhattan’s lower east side. 




Statement— One Day This Will Be Then examines tradition, memory, and the arbitrary borders that attempt to define us. The exhibition is hosted by BEVERLY'S - in their temporary off-site exhibition space at 5 Eldridge. In BEVERLY'S lineage of highlighting artworks generated within artist-led social ecosystems—this exhibition presents the ceramic works of Alex Baren, Angelique De Castro, Marie Leocadie, and Peloloca—all collaboratively created in a shared artists' studio space. The pieces in this show, crafted from porcelain, stoneware, and foraged low-fire clay, invite viewers to dissect cultural precedents that are at once sacred and pliable. 

Baren's vessels reinterpret traditional forms, connecting the medium to its cultural and spiritual legacy while proposing a way forward. Embracing the violence of the kiln, porcelain is delicately draped over a stoneware vessel, only to be shattered and fired multiple times. Rough clay is smeared and fired beyond its natural limits, introducing unexpected and richly textured surfaces. These works teeter carefully between the ancient and contemporary.

De Castro’s figurative sculptures also draw from tradition—reimagining Philippine mythologies of creation and heroism in stark contrast to the rigid gender binaries imposed by Western coloniality. Through the lens of pop culture and queer embodiment, the forms reanimate pre-colonial Philippine history.

Leocadie stretches and contorts porcelain to its limit. The artist employs the material’s unique balance of strength and delicacy—fragile and, once fired, able to withstand almost anything– to explore themes of resilience, grief, and transformation. While the memory of porcelain often deters experimentation, Leocadie leans into this quality to explore the mark of time on responsive bodies.

Peloloca’s biomorphic sculptures from the series “We Breathe At Night”, constructed using age-old building techniques, are signposts to an alternate future. Once, cacti stood as pre-colonial markers of ancient farmlands, from Palestine to Mexico. Here, they stand as totemic counterpoints to human-built borders. Drawing parallels between the adaptability of xerophytes and the resistance of human bodies in hostile environments, Peloloca imagines what will outlive the violent era of the anthropocene.

Collectively, the works of these artists challenge the notion that the past is immovable and the future is out of reach. As we feel the rigidity of history and the weight of futures ahead, could our collective memory serve more fluid narratives?