Home
Could be Gardens features eight new wall and floor-based sculptures crafted in oak and walnut, including a unique sculpture that doubles as a bench for visitors. Each sculpture draws from Pocsik’s lexicon of symbols, referencing elements from both the manmade and natural worlds, uniting cans, shoes, and tires, with flowers, hands, cacti and fruit.
This exhibition serves as a meditation on memory, reflecting on Pocsik’s childhood home in Ohio and his current residence in Los Angeles. In both settings, Pocsik observes the nuanced commingling of urban detritus with the persistent growth of organic forms. Processed through a distinctly surreal language, the sculptures find cacti with ears growing from a discarded drag race car tire, a large flower with an eye growing from a boot or wrapping around a can, and a bench complete with lemons, ears and hands.
The animated nature of Poscik’s objects are further heightened through the highly realistic rendering of each piece. Originally trained in architecture, Pocsik employs both digital and analog methods to craft each piece. The process begins with detailed graphite drawings, which are transformed digitally using three dimensional modeling and animation software. The wood components are then roughly cut in the artist’s studio with a computer numerical control machine and glued together. Each form is meticulously hand carved, sanded and stained to produce the final sculpture. For the first time, the artist has integrated metal components into this show, utilizing custom cast pewter and bronze to further enhance the industrial nature of his process.
Steeped in a sense of hope, Could be Gardens proposes an optimistic future where the natural world flourishes within urban confines. These botanical elements serve as a metaphor for all life, resourceful and hopeful, building and sustaining an existence with what is afforded to us at any given time.
Could be Gardens features eight new wall and floor-based sculptures crafted in oak and walnut, including a unique sculpture that doubles as a bench for visitors. Each sculpture draws from Pocsik’s lexicon of symbols, referencing elements from both the manmade and natural worlds, uniting cans, shoes, and tires, with flowers, hands, cacti and fruit.
This exhibition serves as a meditation on memory, reflecting on Pocsik’s childhood home in Ohio and his current residence in Los Angeles. In both settings, Pocsik observes the nuanced commingling of urban detritus with the persistent growth of organic forms. Processed through a distinctly surreal language, the sculptures find cacti with ears growing from a discarded drag race car tire, a large flower with an eye growing from a boot or wrapping around a can, and a bench complete with lemons, ears and hands.
The animated nature of Poscik’s objects are further heightened through the highly realistic rendering of each piece. Originally trained in architecture, Pocsik employs both digital and analog methods to craft each piece. The process begins with detailed graphite drawings, which are transformed digitally using three dimensional modeling and animation software. The wood components are then roughly cut in the artist’s studio with a computer numerical control machine and glued together. Each form is meticulously hand carved, sanded and stained to produce the final sculpture. For the first time, the artist has integrated metal components into this show, utilizing custom cast pewter and bronze to further enhance the industrial nature of his process.
Steeped in a sense of hope, Could be Gardens proposes an optimistic future where the natural world flourishes within urban confines. These botanical elements serve as a metaphor for all life, resourceful and hopeful, building and sustaining an existence with what is afforded to us at any given time.
Could be Gardens features eight new wall and floor-based sculptures crafted in oak and walnut, including a unique sculpture that doubles as a bench for visitors. Each sculpture draws from Pocsik’s lexicon of symbols, referencing elements from both the manmade and natural worlds, uniting cans, shoes, and tires, with flowers, hands, cacti and fruit.
This exhibition serves as a meditation on memory, reflecting on Pocsik’s childhood home in Ohio and his current residence in Los Angeles. In both settings, Pocsik observes the nuanced commingling of urban detritus with the persistent growth of organic forms. Processed through a distinctly surreal language, the sculptures find cacti with ears growing from a discarded drag race car tire, a large flower with an eye growing from a boot or wrapping around a can, and a bench complete with lemons, ears and hands.
The animated nature of Poscik’s objects are further heightened through the highly realistic rendering of each piece. Originally trained in architecture, Pocsik employs both digital and analog methods to craft each piece. The process begins with detailed graphite drawings, which are transformed digitally using three dimensional modeling and animation software. The wood components are then roughly cut in the artist’s studio with a computer numerical control machine and glued together. Each form is meticulously hand carved, sanded and stained to produce the final sculpture. For the first time, the artist has integrated metal components into this show, utilizing custom cast pewter and bronze to further enhance the industrial nature of his process.
Steeped in a sense of hope, Could be Gardens proposes an optimistic future where the natural world flourishes within urban confines. These botanical elements serve as a metaphor for all life, resourceful and hopeful, building and sustaining an existence with what is afforded to us at any given time.
Could be Gardens features eight new wall and floor-based sculptures crafted in oak and walnut, including a unique sculpture that doubles as a bench for visitors. Each sculpture draws from Pocsik’s lexicon of symbols, referencing elements from both the manmade and natural worlds, uniting cans, shoes, and tires, with flowers, hands, cacti and fruit.
This exhibition serves as a meditation on memory, reflecting on Pocsik’s childhood home in Ohio and his current residence in Los Angeles. In both settings, Pocsik observes the nuanced commingling of urban detritus with the persistent growth of organic forms. Processed through a distinctly surreal language, the sculptures find cacti with ears growing from a discarded drag race car tire, a large flower with an eye growing from a boot or wrapping around a can, and a bench complete with lemons, ears and hands.
The animated nature of Poscik’s objects are further heightened through the highly realistic rendering of each piece. Originally trained in architecture, Pocsik employs both digital and analog methods to craft each piece. The process begins with detailed graphite drawings, which are transformed digitally using three dimensional modeling and animation software. The wood components are then roughly cut in the artist’s studio with a computer numerical control machine and glued together. Each form is meticulously hand carved, sanded and stained to produce the final sculpture. For the first time, the artist has integrated metal components into this show, utilizing custom cast pewter and bronze to further enhance the industrial nature of his process.
Steeped in a sense of hope, Could be Gardens proposes an optimistic future where the natural world flourishes within urban confines. These botanical elements serve as a metaphor for all life, resourceful and hopeful, building and sustaining an existence with what is afforded to us at any given time.
Could be Gardens features eight new wall and floor-based sculptures crafted in oak and walnut, including a unique sculpture that doubles as a bench for visitors. Each sculpture draws from Pocsik’s lexicon of symbols, referencing elements from both the manmade and natural worlds, uniting cans, shoes, and tires, with flowers, hands, cacti and fruit.
This exhibition serves as a meditation on memory, reflecting on Pocsik’s childhood home in Ohio and his current residence in Los Angeles. In both settings, Pocsik observes the nuanced commingling of urban detritus with the persistent growth of organic forms. Processed through a distinctly surreal language, the sculptures find cacti with ears growing from a discarded drag race car tire, a large flower with an eye growing from a boot or wrapping around a can, and a bench complete with lemons, ears and hands.
The animated nature of Poscik’s objects are further heightened through the highly realistic rendering of each piece. Originally trained in architecture, Pocsik employs both digital and analog methods to craft each piece. The process begins with detailed graphite drawings, which are transformed digitally using three dimensional modeling and animation software. The wood components are then roughly cut in the artist’s studio with a computer numerical control machine and glued together. Each form is meticulously hand carved, sanded and stained to produce the final sculpture. For the first time, the artist has integrated metal components into this show, utilizing custom cast pewter and bronze to further enhance the industrial nature of his process.
Steeped in a sense of hope, Could be Gardens proposes an optimistic future where the natural world flourishes within urban confines. These botanical elements serve as a metaphor for all life, resourceful and hopeful, building and sustaining an existence with what is afforded to us at any given time.
Could be Gardens features eight new wall and floor-based sculptures crafted in oak and walnut, including a unique sculpture that doubles as a bench for visitors. Each sculpture draws from Pocsik’s lexicon of symbols, referencing elements from both the manmade and natural worlds, uniting cans, shoes, and tires, with flowers, hands, cacti and fruit.
This exhibition serves as a meditation on memory, reflecting on Pocsik’s childhood home in Ohio and his current residence in Los Angeles. In both settings, Pocsik observes the nuanced commingling of urban detritus with the persistent growth of organic forms. Processed through a distinctly surreal language, the sculptures find cacti with ears growing from a discarded drag race car tire, a large flower with an eye growing from a boot or wrapping around a can, and a bench complete with lemons, ears and hands.
The animated nature of Poscik’s objects are further heightened through the highly realistic rendering of each piece. Originally trained in architecture, Pocsik employs both digital and analog methods to craft each piece. The process begins with detailed graphite drawings, which are transformed digitally using three dimensional modeling and animation software. The wood components are then roughly cut in the artist’s studio with a computer numerical control machine and glued together. Each form is meticulously hand carved, sanded and stained to produce the final sculpture. For the first time, the artist has integrated metal components into this show, utilizing custom cast pewter and bronze to further enhance the industrial nature of his process.
Steeped in a sense of hope, Could be Gardens proposes an optimistic future where the natural world flourishes within urban confines. These botanical elements serve as a metaphor for all life, resourceful and hopeful, building and sustaining an existence with what is afforded to us at any given time.
Could be Gardens features eight new wall and floor-based sculptures crafted in oak and walnut, including a unique sculpture that doubles as a bench for visitors. Each sculpture draws from Pocsik’s lexicon of symbols, referencing elements from both the manmade and natural worlds, uniting cans, shoes, and tires, with flowers, hands, cacti and fruit.
This exhibition serves as a meditation on memory, reflecting on Pocsik’s childhood home in Ohio and his current residence in Los Angeles. In both settings, Pocsik observes the nuanced commingling of urban detritus with the persistent growth of organic forms. Processed through a distinctly surreal language, the sculptures find cacti with ears growing from a discarded drag race car tire, a large flower with an eye growing from a boot or wrapping around a can, and a bench complete with lemons, ears and hands.
The animated nature of Poscik’s objects are further heightened through the highly realistic rendering of each piece. Originally trained in architecture, Pocsik employs both digital and analog methods to craft each piece. The process begins with detailed graphite drawings, which are transformed digitally using three dimensional modeling and animation software. The wood components are then roughly cut in the artist’s studio with a computer numerical control machine and glued together. Each form is meticulously hand carved, sanded and stained to produce the final sculpture. For the first time, the artist has integrated metal components into this show, utilizing custom cast pewter and bronze to further enhance the industrial nature of his process.
Steeped in a sense of hope, Could be Gardens proposes an optimistic future where the natural world flourishes within urban confines. These botanical elements serve as a metaphor for all life, resourceful and hopeful, building and sustaining an existence with what is afforded to us at any given time.
Could be Gardens features eight new wall and floor-based sculptures crafted in oak and walnut, including a unique sculpture that doubles as a bench for visitors. Each sculpture draws from Pocsik’s lexicon of symbols, referencing elements from both the manmade and natural worlds, uniting cans, shoes, and tires, with flowers, hands, cacti and fruit.
This exhibition serves as a meditation on memory, reflecting on Pocsik’s childhood home in Ohio and his current residence in Los Angeles. In both settings, Pocsik observes the nuanced commingling of urban detritus with the persistent growth of organic forms. Processed through a distinctly surreal language, the sculptures find cacti with ears growing from a discarded drag race car tire, a large flower with an eye growing from a boot or wrapping around a can, and a bench complete with lemons, ears and hands.
The animated nature of Poscik’s objects are further heightened through the highly realistic rendering of each piece. Originally trained in architecture, Pocsik employs both digital and analog methods to craft each piece. The process begins with detailed graphite drawings, which are transformed digitally using three dimensional modeling and animation software. The wood components are then roughly cut in the artist’s studio with a computer numerical control machine and glued together. Each form is meticulously hand carved, sanded and stained to produce the final sculpture. For the first time, the artist has integrated metal components into this show, utilizing custom cast pewter and bronze to further enhance the industrial nature of his process.
Steeped in a sense of hope, Could be Gardens proposes an optimistic future where the natural world flourishes within urban confines. These botanical elements serve as a metaphor for all life, resourceful and hopeful, building and sustaining an existence with what is afforded to us at any given time.
Could be Gardens features eight new wall and floor-based sculptures crafted in oak and walnut, including a unique sculpture that doubles as a bench for visitors. Each sculpture draws from Pocsik’s lexicon of symbols, referencing elements from both the manmade and natural worlds, uniting cans, shoes, and tires, with flowers, hands, cacti and fruit.
This exhibition serves as a meditation on memory, reflecting on Pocsik’s childhood home in Ohio and his current residence in Los Angeles. In both settings, Pocsik observes the nuanced commingling of urban detritus with the persistent growth of organic forms. Processed through a distinctly surreal language, the sculptures find cacti with ears growing from a discarded drag race car tire, a large flower with an eye growing from a boot or wrapping around a can, and a bench complete with lemons, ears and hands.
The animated nature of Poscik’s objects are further heightened through the highly realistic rendering of each piece. Originally trained in architecture, Pocsik employs both digital and analog methods to craft each piece. The process begins with detailed graphite drawings, which are transformed digitally using three dimensional modeling and animation software. The wood components are then roughly cut in the artist’s studio with a computer numerical control machine and glued together. Each form is meticulously hand carved, sanded and stained to produce the final sculpture. For the first time, the artist has integrated metal components into this show, utilizing custom cast pewter and bronze to further enhance the industrial nature of his process.
Steeped in a sense of hope, Could be Gardens proposes an optimistic future where the natural world flourishes within urban confines. These botanical elements serve as a metaphor for all life, resourceful and hopeful, building and sustaining an existence with what is afforded to us at any given time.
Could be Gardens features eight new wall and floor-based sculptures crafted in oak and walnut, including a unique sculpture that doubles as a bench for visitors. Each sculpture draws from Pocsik’s lexicon of symbols, referencing elements from both the manmade and natural worlds, uniting cans, shoes, and tires, with flowers, hands, cacti and fruit.
This exhibition serves as a meditation on memory, reflecting on Pocsik’s childhood home in Ohio and his current residence in Los Angeles. In both settings, Pocsik observes the nuanced commingling of urban detritus with the persistent growth of organic forms. Processed through a distinctly surreal language, the sculptures find cacti with ears growing from a discarded drag race car tire, a large flower with an eye growing from a boot or wrapping around a can, and a bench complete with lemons, ears and hands.
The animated nature of Poscik’s objects are further heightened through the highly realistic rendering of each piece. Originally trained in architecture, Pocsik employs both digital and analog methods to craft each piece. The process begins with detailed graphite drawings, which are transformed digitally using three dimensional modeling and animation software. The wood components are then roughly cut in the artist’s studio with a computer numerical control machine and glued together. Each form is meticulously hand carved, sanded and stained to produce the final sculpture. For the first time, the artist has integrated metal components into this show, utilizing custom cast pewter and bronze to further enhance the industrial nature of his process.
Steeped in a sense of hope, Could be Gardens proposes an optimistic future where the natural world flourishes within urban confines. These botanical elements serve as a metaphor for all life, resourceful and hopeful, building and sustaining an existence with what is afforded to us at any given time.
Could be Gardens features eight new wall and floor-based sculptures crafted in oak and walnut, including a unique sculpture that doubles as a bench for visitors. Each sculpture draws from Pocsik’s lexicon of symbols, referencing elements from both the manmade and natural worlds, uniting cans, shoes, and tires, with flowers, hands, cacti and fruit.
This exhibition serves as a meditation on memory, reflecting on Pocsik’s childhood home in Ohio and his current residence in Los Angeles. In both settings, Pocsik observes the nuanced commingling of urban detritus with the persistent growth of organic forms. Processed through a distinctly surreal language, the sculptures find cacti with ears growing from a discarded drag race car tire, a large flower with an eye growing from a boot or wrapping around a can, and a bench complete with lemons, ears and hands.
The animated nature of Poscik’s objects are further heightened through the highly realistic rendering of each piece. Originally trained in architecture, Pocsik employs both digital and analog methods to craft each piece. The process begins with detailed graphite drawings, which are transformed digitally using three dimensional modeling and animation software. The wood components are then roughly cut in the artist’s studio with a computer numerical control machine and glued together. Each form is meticulously hand carved, sanded and stained to produce the final sculpture. For the first time, the artist has integrated metal components into this show, utilizing custom cast pewter and bronze to further enhance the industrial nature of his process.
Steeped in a sense of hope, Could be Gardens proposes an optimistic future where the natural world flourishes within urban confines. These botanical elements serve as a metaphor for all life, resourceful and hopeful, building and sustaining an existence with what is afforded to us at any given time.
Could be Gardens features eight new wall and floor-based sculptures crafted in oak and walnut, including a unique sculpture that doubles as a bench for visitors. Each sculpture draws from Pocsik’s lexicon of symbols, referencing elements from both the manmade and natural worlds, uniting cans, shoes, and tires, with flowers, hands, cacti and fruit.
This exhibition serves as a meditation on memory, reflecting on Pocsik’s childhood home in Ohio and his current residence in Los Angeles. In both settings, Pocsik observes the nuanced commingling of urban detritus with the persistent growth of organic forms. Processed through a distinctly surreal language, the sculptures find cacti with ears growing from a discarded drag race car tire, a large flower with an eye growing from a boot or wrapping around a can, and a bench complete with lemons, ears and hands.
The animated nature of Poscik’s objects are further heightened through the highly realistic rendering of each piece. Originally trained in architecture, Pocsik employs both digital and analog methods to craft each piece. The process begins with detailed graphite drawings, which are transformed digitally using three dimensional modeling and animation software. The wood components are then roughly cut in the artist’s studio with a computer numerical control machine and glued together. Each form is meticulously hand carved, sanded and stained to produce the final sculpture. For the first time, the artist has integrated metal components into this show, utilizing custom cast pewter and bronze to further enhance the industrial nature of his process.
Steeped in a sense of hope, Could be Gardens proposes an optimistic future where the natural world flourishes within urban confines. These botanical elements serve as a metaphor for all life, resourceful and hopeful, building and sustaining an existence with what is afforded to us at any given time.
Could be Gardens features eight new wall and floor-based sculptures crafted in oak and walnut, including a unique sculpture that doubles as a bench for visitors. Each sculpture draws from Pocsik’s lexicon of symbols, referencing elements from both the manmade and natural worlds, uniting cans, shoes, and tires, with flowers, hands, cacti and fruit.
This exhibition serves as a meditation on memory, reflecting on Pocsik’s childhood home in Ohio and his current residence in Los Angeles. In both settings, Pocsik observes the nuanced commingling of urban detritus with the persistent growth of organic forms. Processed through a distinctly surreal language, the sculptures find cacti with ears growing from a discarded drag race car tire, a large flower with an eye growing from a boot or wrapping around a can, and a bench complete with lemons, ears and hands.
The animated nature of Poscik’s objects are further heightened through the highly realistic rendering of each piece. Originally trained in architecture, Pocsik employs both digital and analog methods to craft each piece. The process begins with detailed graphite drawings, which are transformed digitally using three dimensional modeling and animation software. The wood components are then roughly cut in the artist’s studio with a computer numerical control machine and glued together. Each form is meticulously hand carved, sanded and stained to produce the final sculpture. For the first time, the artist has integrated metal components into this show, utilizing custom cast pewter and bronze to further enhance the industrial nature of his process.
Steeped in a sense of hope, Could be Gardens proposes an optimistic future where the natural world flourishes within urban confines. These botanical elements serve as a metaphor for all life, resourceful and hopeful, building and sustaining an existence with what is afforded to us at any given time.
Could be Gardens features eight new wall and floor-based sculptures crafted in oak and walnut, including a unique sculpture that doubles as a bench for visitors. Each sculpture draws from Pocsik’s lexicon of symbols, referencing elements from both the manmade and natural worlds, uniting cans, shoes, and tires, with flowers, hands, cacti and fruit.
This exhibition serves as a meditation on memory, reflecting on Pocsik’s childhood home in Ohio and his current residence in Los Angeles. In both settings, Pocsik observes the nuanced commingling of urban detritus with the persistent growth of organic forms. Processed through a distinctly surreal language, the sculptures find cacti with ears growing from a discarded drag race car tire, a large flower with an eye growing from a boot or wrapping around a can, and a bench complete with lemons, ears and hands.
The animated nature of Poscik’s objects are further heightened through the highly realistic rendering of each piece. Originally trained in architecture, Pocsik employs both digital and analog methods to craft each piece. The process begins with detailed graphite drawings, which are transformed digitally using three dimensional modeling and animation software. The wood components are then roughly cut in the artist’s studio with a computer numerical control machine and glued together. Each form is meticulously hand carved, sanded and stained to produce the final sculpture. For the first time, the artist has integrated metal components into this show, utilizing custom cast pewter and bronze to further enhance the industrial nature of his process.
Steeped in a sense of hope, Could be Gardens proposes an optimistic future where the natural world flourishes within urban confines. These botanical elements serve as a metaphor for all life, resourceful and hopeful, building and sustaining an existence with what is afforded to us at any given time.
Could be Gardens features eight new wall and floor-based sculptures crafted in oak and walnut, including a unique sculpture that doubles as a bench for visitors. Each sculpture draws from Pocsik’s lexicon of symbols, referencing elements from both the manmade and natural worlds, uniting cans, shoes, and tires, with flowers, hands, cacti and fruit.
This exhibition serves as a meditation on memory, reflecting on Pocsik’s childhood home in Ohio and his current residence in Los Angeles. In both settings, Pocsik observes the nuanced commingling of urban detritus with the persistent growth of organic forms. Processed through a distinctly surreal language, the sculptures find cacti with ears growing from a discarded drag race car tire, a large flower with an eye growing from a boot or wrapping around a can, and a bench complete with lemons, ears and hands.
The animated nature of Poscik’s objects are further heightened through the highly realistic rendering of each piece. Originally trained in architecture, Pocsik employs both digital and analog methods to craft each piece. The process begins with detailed graphite drawings, which are transformed digitally using three dimensional modeling and animation software. The wood components are then roughly cut in the artist’s studio with a computer numerical control machine and glued together. Each form is meticulously hand carved, sanded and stained to produce the final sculpture. For the first time, the artist has integrated metal components into this show, utilizing custom cast pewter and bronze to further enhance the industrial nature of his process.
Steeped in a sense of hope, Could be Gardens proposes an optimistic future where the natural world flourishes within urban confines. These botanical elements serve as a metaphor for all life, resourceful and hopeful, building and sustaining an existence with what is afforded to us at any given time.
Could be Gardens features eight new wall and floor-based sculptures crafted in oak and walnut, including a unique sculpture that doubles as a bench for visitors. Each sculpture draws from Pocsik’s lexicon of symbols, referencing elements from both the manmade and natural worlds, uniting cans, shoes, and tires, with flowers, hands, cacti and fruit.
This exhibition serves as a meditation on memory, reflecting on Pocsik’s childhood home in Ohio and his current residence in Los Angeles. In both settings, Pocsik observes the nuanced commingling of urban detritus with the persistent growth of organic forms. Processed through a distinctly surreal language, the sculptures find cacti with ears growing from a discarded drag race car tire, a large flower with an eye growing from a boot or wrapping around a can, and a bench complete with lemons, ears and hands.
The animated nature of Poscik’s objects are further heightened through the highly realistic rendering of each piece. Originally trained in architecture, Pocsik employs both digital and analog methods to craft each piece. The process begins with detailed graphite drawings, which are transformed digitally using three dimensional modeling and animation software. The wood components are then roughly cut in the artist’s studio with a computer numerical control machine and glued together. Each form is meticulously hand carved, sanded and stained to produce the final sculpture. For the first time, the artist has integrated metal components into this show, utilizing custom cast pewter and bronze to further enhance the industrial nature of his process.
Steeped in a sense of hope, Could be Gardens proposes an optimistic future where the natural world flourishes within urban confines. These botanical elements serve as a metaphor for all life, resourceful and hopeful, building and sustaining an existence with what is afforded to us at any given time.
Could be Gardens features eight new wall and floor-based sculptures crafted in oak and walnut, including a unique sculpture that doubles as a bench for visitors. Each sculpture draws from Pocsik’s lexicon of symbols, referencing elements from both the manmade and natural worlds, uniting cans, shoes, and tires, with flowers, hands, cacti and fruit.
This exhibition serves as a meditation on memory, reflecting on Pocsik’s childhood home in Ohio and his current residence in Los Angeles. In both settings, Pocsik observes the nuanced commingling of urban detritus with the persistent growth of organic forms. Processed through a distinctly surreal language, the sculptures find cacti with ears growing from a discarded drag race car tire, a large flower with an eye growing from a boot or wrapping around a can, and a bench complete with lemons, ears and hands.
The animated nature of Poscik’s objects are further heightened through the highly realistic rendering of each piece. Originally trained in architecture, Pocsik employs both digital and analog methods to craft each piece. The process begins with detailed graphite drawings, which are transformed digitally using three dimensional modeling and animation software. The wood components are then roughly cut in the artist’s studio with a computer numerical control machine and glued together. Each form is meticulously hand carved, sanded and stained to produce the final sculpture. For the first time, the artist has integrated metal components into this show, utilizing custom cast pewter and bronze to further enhance the industrial nature of his process.
Steeped in a sense of hope, Could be Gardens proposes an optimistic future where the natural world flourishes within urban confines. These botanical elements serve as a metaphor for all life, resourceful and hopeful, building and sustaining an existence with what is afforded to us at any given time.
Could be Gardens features eight new wall and floor-based sculptures crafted in oak and walnut, including a unique sculpture that doubles as a bench for visitors. Each sculpture draws from Pocsik’s lexicon of symbols, referencing elements from both the manmade and natural worlds, uniting cans, shoes, and tires, with flowers, hands, cacti and fruit.
This exhibition serves as a meditation on memory, reflecting on Pocsik’s childhood home in Ohio and his current residence in Los Angeles. In both settings, Pocsik observes the nuanced commingling of urban detritus with the persistent growth of organic forms. Processed through a distinctly surreal language, the sculptures find cacti with ears growing from a discarded drag race car tire, a large flower with an eye growing from a boot or wrapping around a can, and a bench complete with lemons, ears and hands.
The animated nature of Poscik’s objects are further heightened through the highly realistic rendering of each piece. Originally trained in architecture, Pocsik employs both digital and analog methods to craft each piece. The process begins with detailed graphite drawings, which are transformed digitally using three dimensional modeling and animation software. The wood components are then roughly cut in the artist’s studio with a computer numerical control machine and glued together. Each form is meticulously hand carved, sanded and stained to produce the final sculpture. For the first time, the artist has integrated metal components into this show, utilizing custom cast pewter and bronze to further enhance the industrial nature of his process.
Steeped in a sense of hope, Could be Gardens proposes an optimistic future where the natural world flourishes within urban confines. These botanical elements serve as a metaphor for all life, resourceful and hopeful, building and sustaining an existence with what is afforded to us at any given time.
Could be Gardens features eight new wall and floor-based sculptures crafted in oak and walnut, including a unique sculpture that doubles as a bench for visitors. Each sculpture draws from Pocsik’s lexicon of symbols, referencing elements from both the manmade and natural worlds, uniting cans, shoes, and tires, with flowers, hands, cacti and fruit.
This exhibition serves as a meditation on memory, reflecting on Pocsik’s childhood home in Ohio and his current residence in Los Angeles. In both settings, Pocsik observes the nuanced commingling of urban detritus with the persistent growth of organic forms. Processed through a distinctly surreal language, the sculptures find cacti with ears growing from a discarded drag race car tire, a large flower with an eye growing from a boot or wrapping around a can, and a bench complete with lemons, ears and hands.
The animated nature of Poscik’s objects are further heightened through the highly realistic rendering of each piece. Originally trained in architecture, Pocsik employs both digital and analog methods to craft each piece. The process begins with detailed graphite drawings, which are transformed digitally using three dimensional modeling and animation software. The wood components are then roughly cut in the artist’s studio with a computer numerical control machine and glued together. Each form is meticulously hand carved, sanded and stained to produce the final sculpture. For the first time, the artist has integrated metal components into this show, utilizing custom cast pewter and bronze to further enhance the industrial nature of his process.
Steeped in a sense of hope, Could be Gardens proposes an optimistic future where the natural world flourishes within urban confines. These botanical elements serve as a metaphor for all life, resourceful and hopeful, building and sustaining an existence with what is afforded to us at any given time.
Could be Gardens features eight new wall and floor-based sculptures crafted in oak and walnut, including a unique sculpture that doubles as a bench for visitors. Each sculpture draws from Pocsik’s lexicon of symbols, referencing elements from both the manmade and natural worlds, uniting cans, shoes, and tires, with flowers, hands, cacti and fruit.
This exhibition serves as a meditation on memory, reflecting on Pocsik’s childhood home in Ohio and his current residence in Los Angeles. In both settings, Pocsik observes the nuanced commingling of urban detritus with the persistent growth of organic forms. Processed through a distinctly surreal language, the sculptures find cacti with ears growing from a discarded drag race car tire, a large flower with an eye growing from a boot or wrapping around a can, and a bench complete with lemons, ears and hands.
The animated nature of Poscik’s objects are further heightened through the highly realistic rendering of each piece. Originally trained in architecture, Pocsik employs both digital and analog methods to craft each piece. The process begins with detailed graphite drawings, which are transformed digitally using three dimensional modeling and animation software. The wood components are then roughly cut in the artist’s studio with a computer numerical control machine and glued together. Each form is meticulously hand carved, sanded and stained to produce the final sculpture. For the first time, the artist has integrated metal components into this show, utilizing custom cast pewter and bronze to further enhance the industrial nature of his process.
Steeped in a sense of hope, Could be Gardens proposes an optimistic future where the natural world flourishes within urban confines. These botanical elements serve as a metaphor for all life, resourceful and hopeful, building and sustaining an existence with what is afforded to us at any given time.
Vincent Pocsik’s sculptures are meticulously carved and pieced together using wood and glue. This traditional and analog process is counterbalanced by the artist’s use of digital tools for rendering and virtually drawing his forms, most of which seem to harken to a time post-humanity as we know it. In this new realm, we’re not so different from the plants and trees that have become Pocsik’s subject and medium of choice, as our human anatomy has melded with botanical forms and flowers, creating poetic hybrids.
Flora and fauna are essentially the antennae of the Earth, quickly responding to the conditions around them. Here, as imagined and conjoined by Pocsik, there is a symbolic connection between the humans and plants now seen reaching and swaying together, linked as one, which speaks to our dependence on the natural world. These offerings feel like warnings as they abstractly relay the environment's increasingly tenuous state. Heightening the effect, several of the sculptures feel reminiscent of altars set up for others to encounter, with nature now making use of the bottles we drink from and the boots we wear. These works possess a more solemn feeling in that the only traces of our existence are the detritus of the materials we consume and use.
Despite the real-world concerns embedded in Pocsik’s surreal fantasies, there is an overarching feeling of hope attached to this body of work. Sunflowers are presented in full bloom, still calling for the sky as they emerge from fingertips, and hands seem to tenderly reach out, caressing one another while twisting and extending out from the stalks of large flowers on the move. The duality of these physical forms allows viewers to reflect on the sculptures from many different perspectives and angles and, at the same time, linger in their strange beauty and playful energy.
Vincent Pocsik’s sculptures are meticulously carved and pieced together using wood and glue. This traditional and analog process is counterbalanced by the artist’s use of digital tools for rendering and virtually drawing his forms, most of which seem to harken to a time post-humanity as we know it. In this new realm, we’re not so different from the plants and trees that have become Pocsik’s subject and medium of choice, as our human anatomy has melded with botanical forms and flowers, creating poetic hybrids.
Flora and fauna are essentially the antennae of the Earth, quickly responding to the conditions around them. Here, as imagined and conjoined by Pocsik, there is a symbolic connection between the humans and plants now seen reaching and swaying together, linked as one, which speaks to our dependence on the natural world. These offerings feel like warnings as they abstractly relay the environment's increasingly tenuous state. Heightening the effect, several of the sculptures feel reminiscent of altars set up for others to encounter, with nature now making use of the bottles we drink from and the boots we wear. These works possess a more solemn feeling in that the only traces of our existence are the detritus of the materials we consume and use.
Despite the real-world concerns embedded in Pocsik’s surreal fantasies, there is an overarching feeling of hope attached to this body of work. Sunflowers are presented in full bloom, still calling for the sky as they emerge from fingertips, and hands seem to tenderly reach out, caressing one another while twisting and extending out from the stalks of large flowers on the move. The duality of these physical forms allows viewers to reflect on the sculptures from many different perspectives and angles and, at the same time, linger in their strange beauty and playful energy.
Vincent Pocsik’s sculptures are meticulously carved and pieced together using wood and glue. This traditional and analog process is counterbalanced by the artist’s use of digital tools for rendering and virtually drawing his forms, most of which seem to harken to a time post-humanity as we know it. In this new realm, we’re not so different from the plants and trees that have become Pocsik’s subject and medium of choice, as our human anatomy has melded with botanical forms and flowers, creating poetic hybrids.
Flora and fauna are essentially the antennae of the Earth, quickly responding to the conditions around them. Here, as imagined and conjoined by Pocsik, there is a symbolic connection between the humans and plants now seen reaching and swaying together, linked as one, which speaks to our dependence on the natural world. These offerings feel like warnings as they abstractly relay the environment's increasingly tenuous state. Heightening the effect, several of the sculptures feel reminiscent of altars set up for others to encounter, with nature now making use of the bottles we drink from and the boots we wear. These works possess a more solemn feeling in that the only traces of our existence are the detritus of the materials we consume and use.
Despite the real-world concerns embedded in Pocsik’s surreal fantasies, there is an overarching feeling of hope attached to this body of work. Sunflowers are presented in full bloom, still calling for the sky as they emerge from fingertips, and hands seem to tenderly reach out, caressing one another while twisting and extending out from the stalks of large flowers on the move. The duality of these physical forms allows viewers to reflect on the sculptures from many different perspectives and angles and, at the same time, linger in their strange beauty and playful energy.
Vincent Pocsik’s sculptures are meticulously carved and pieced together using wood and glue. This traditional and analog process is counterbalanced by the artist’s use of digital tools for rendering and virtually drawing his forms, most of which seem to harken to a time post-humanity as we know it. In this new realm, we’re not so different from the plants and trees that have become Pocsik’s subject and medium of choice, as our human anatomy has melded with botanical forms and flowers, creating poetic hybrids.
Flora and fauna are essentially the antennae of the Earth, quickly responding to the conditions around them. Here, as imagined and conjoined by Pocsik, there is a symbolic connection between the humans and plants now seen reaching and swaying together, linked as one, which speaks to our dependence on the natural world. These offerings feel like warnings as they abstractly relay the environment's increasingly tenuous state. Heightening the effect, several of the sculptures feel reminiscent of altars set up for others to encounter, with nature now making use of the bottles we drink from and the boots we wear. These works possess a more solemn feeling in that the only traces of our existence are the detritus of the materials we consume and use.
Despite the real-world concerns embedded in Pocsik’s surreal fantasies, there is an overarching feeling of hope attached to this body of work. Sunflowers are presented in full bloom, still calling for the sky as they emerge from fingertips, and hands seem to tenderly reach out, caressing one another while twisting and extending out from the stalks of large flowers on the move. The duality of these physical forms allows viewers to reflect on the sculptures from many different perspectives and angles and, at the same time, linger in their strange beauty and playful energy.
Vincent Pocsik’s sculptures are meticulously carved and pieced together using wood and glue. This traditional and analog process is counterbalanced by the artist’s use of digital tools for rendering and virtually drawing his forms, most of which seem to harken to a time post-humanity as we know it. In this new realm, we’re not so different from the plants and trees that have become Pocsik’s subject and medium of choice, as our human anatomy has melded with botanical forms and flowers, creating poetic hybrids.
Flora and fauna are essentially the antennae of the Earth, quickly responding to the conditions around them. Here, as imagined and conjoined by Pocsik, there is a symbolic connection between the humans and plants now seen reaching and swaying together, linked as one, which speaks to our dependence on the natural world. These offerings feel like warnings as they abstractly relay the environment's increasingly tenuous state. Heightening the effect, several of the sculptures feel reminiscent of altars set up for others to encounter, with nature now making use of the bottles we drink from and the boots we wear. These works possess a more solemn feeling in that the only traces of our existence are the detritus of the materials we consume and use.
Despite the real-world concerns embedded in Pocsik’s surreal fantasies, there is an overarching feeling of hope attached to this body of work. Sunflowers are presented in full bloom, still calling for the sky as they emerge from fingertips, and hands seem to tenderly reach out, caressing one another while twisting and extending out from the stalks of large flowers on the move. The duality of these physical forms allows viewers to reflect on the sculptures from many different perspectives and angles and, at the same time, linger in their strange beauty and playful energy.
Vincent Pocsik’s sculptures are meticulously carved and pieced together using wood and glue. This traditional and analog process is counterbalanced by the artist’s use of digital tools for rendering and virtually drawing his forms, most of which seem to harken to a time post-humanity as we know it. In this new realm, we’re not so different from the plants and trees that have become Pocsik’s subject and medium of choice, as our human anatomy has melded with botanical forms and flowers, creating poetic hybrids.
Flora and fauna are essentially the antennae of the Earth, quickly responding to the conditions around them. Here, as imagined and conjoined by Pocsik, there is a symbolic connection between the humans and plants now seen reaching and swaying together, linked as one, which speaks to our dependence on the natural world. These offerings feel like warnings as they abstractly relay the environment's increasingly tenuous state. Heightening the effect, several of the sculptures feel reminiscent of altars set up for others to encounter, with nature now making use of the bottles we drink from and the boots we wear. These works possess a more solemn feeling in that the only traces of our existence are the detritus of the materials we consume and use.
Despite the real-world concerns embedded in Pocsik’s surreal fantasies, there is an overarching feeling of hope attached to this body of work. Sunflowers are presented in full bloom, still calling for the sky as they emerge from fingertips, and hands seem to tenderly reach out, caressing one another while twisting and extending out from the stalks of large flowers on the move. The duality of these physical forms allows viewers to reflect on the sculptures from many different perspectives and angles and, at the same time, linger in their strange beauty and playful energy.
Vincent Pocsik’s sculptures are meticulously carved and pieced together using wood and glue. This traditional and analog process is counterbalanced by the artist’s use of digital tools for rendering and virtually drawing his forms, most of which seem to harken to a time post-humanity as we know it. In this new realm, we’re not so different from the plants and trees that have become Pocsik’s subject and medium of choice, as our human anatomy has melded with botanical forms and flowers, creating poetic hybrids.
Flora and fauna are essentially the antennae of the Earth, quickly responding to the conditions around them. Here, as imagined and conjoined by Pocsik, there is a symbolic connection between the humans and plants now seen reaching and swaying together, linked as one, which speaks to our dependence on the natural world. These offerings feel like warnings as they abstractly relay the environment's increasingly tenuous state. Heightening the effect, several of the sculptures feel reminiscent of altars set up for others to encounter, with nature now making use of the bottles we drink from and the boots we wear. These works possess a more solemn feeling in that the only traces of our existence are the detritus of the materials we consume and use.
Despite the real-world concerns embedded in Pocsik’s surreal fantasies, there is an overarching feeling of hope attached to this body of work. Sunflowers are presented in full bloom, still calling for the sky as they emerge from fingertips, and hands seem to tenderly reach out, caressing one another while twisting and extending out from the stalks of large flowers on the move. The duality of these physical forms allows viewers to reflect on the sculptures from many different perspectives and angles and, at the same time, linger in their strange beauty and playful energy.
Vincent Pocsik’s sculptures are meticulously carved and pieced together using wood and glue. This traditional and analog process is counterbalanced by the artist’s use of digital tools for rendering and virtually drawing his forms, most of which seem to harken to a time post-humanity as we know it. In this new realm, we’re not so different from the plants and trees that have become Pocsik’s subject and medium of choice, as our human anatomy has melded with botanical forms and flowers, creating poetic hybrids.
Flora and fauna are essentially the antennae of the Earth, quickly responding to the conditions around them. Here, as imagined and conjoined by Pocsik, there is a symbolic connection between the humans and plants now seen reaching and swaying together, linked as one, which speaks to our dependence on the natural world. These offerings feel like warnings as they abstractly relay the environment's increasingly tenuous state. Heightening the effect, several of the sculptures feel reminiscent of altars set up for others to encounter, with nature now making use of the bottles we drink from and the boots we wear. These works possess a more solemn feeling in that the only traces of our existence are the detritus of the materials we consume and use.
Despite the real-world concerns embedded in Pocsik’s surreal fantasies, there is an overarching feeling of hope attached to this body of work. Sunflowers are presented in full bloom, still calling for the sky as they emerge from fingertips, and hands seem to tenderly reach out, caressing one another while twisting and extending out from the stalks of large flowers on the move. The duality of these physical forms allows viewers to reflect on the sculptures from many different perspectives and angles and, at the same time, linger in their strange beauty and playful energy.
Vincent Pocsik’s sculptures are meticulously carved and pieced together using wood and glue. This traditional and analog process is counterbalanced by the artist’s use of digital tools for rendering and virtually drawing his forms, most of which seem to harken to a time post-humanity as we know it. In this new realm, we’re not so different from the plants and trees that have become Pocsik’s subject and medium of choice, as our human anatomy has melded with botanical forms and flowers, creating poetic hybrids.
Flora and fauna are essentially the antennae of the Earth, quickly responding to the conditions around them. Here, as imagined and conjoined by Pocsik, there is a symbolic connection between the humans and plants now seen reaching and swaying together, linked as one, which speaks to our dependence on the natural world. These offerings feel like warnings as they abstractly relay the environment's increasingly tenuous state. Heightening the effect, several of the sculptures feel reminiscent of altars set up for others to encounter, with nature now making use of the bottles we drink from and the boots we wear. These works possess a more solemn feeling in that the only traces of our existence are the detritus of the materials we consume and use.
Despite the real-world concerns embedded in Pocsik’s surreal fantasies, there is an overarching feeling of hope attached to this body of work. Sunflowers are presented in full bloom, still calling for the sky as they emerge from fingertips, and hands seem to tenderly reach out, caressing one another while twisting and extending out from the stalks of large flowers on the move. The duality of these physical forms allows viewers to reflect on the sculptures from many different perspectives and angles and, at the same time, linger in their strange beauty and playful energy.
Vincent Pocsik’s sculptures are meticulously carved and pieced together using wood and glue. This traditional and analog process is counterbalanced by the artist’s use of digital tools for rendering and virtually drawing his forms, most of which seem to harken to a time post-humanity as we know it. In this new realm, we’re not so different from the plants and trees that have become Pocsik’s subject and medium of choice, as our human anatomy has melded with botanical forms and flowers, creating poetic hybrids.
Flora and fauna are essentially the antennae of the Earth, quickly responding to the conditions around them. Here, as imagined and conjoined by Pocsik, there is a symbolic connection between the humans and plants now seen reaching and swaying together, linked as one, which speaks to our dependence on the natural world. These offerings feel like warnings as they abstractly relay the environment's increasingly tenuous state. Heightening the effect, several of the sculptures feel reminiscent of altars set up for others to encounter, with nature now making use of the bottles we drink from and the boots we wear. These works possess a more solemn feeling in that the only traces of our existence are the detritus of the materials we consume and use.
Despite the real-world concerns embedded in Pocsik’s surreal fantasies, there is an overarching feeling of hope attached to this body of work. Sunflowers are presented in full bloom, still calling for the sky as they emerge from fingertips, and hands seem to tenderly reach out, caressing one another while twisting and extending out from the stalks of large flowers on the move. The duality of these physical forms allows viewers to reflect on the sculptures from many different perspectives and angles and, at the same time, linger in their strange beauty and playful energy.
Vincent Pocsik’s sculptures are meticulously carved and pieced together using wood and glue. This traditional and analog process is counterbalanced by the artist’s use of digital tools for rendering and virtually drawing his forms, most of which seem to harken to a time post-humanity as we know it. In this new realm, we’re not so different from the plants and trees that have become Pocsik’s subject and medium of choice, as our human anatomy has melded with botanical forms and flowers, creating poetic hybrids.
Flora and fauna are essentially the antennae of the Earth, quickly responding to the conditions around them. Here, as imagined and conjoined by Pocsik, there is a symbolic connection between the humans and plants now seen reaching and swaying together, linked as one, which speaks to our dependence on the natural world. These offerings feel like warnings as they abstractly relay the environment's increasingly tenuous state. Heightening the effect, several of the sculptures feel reminiscent of altars set up for others to encounter, with nature now making use of the bottles we drink from and the boots we wear. These works possess a more solemn feeling in that the only traces of our existence are the detritus of the materials we consume and use.
Despite the real-world concerns embedded in Pocsik’s surreal fantasies, there is an overarching feeling of hope attached to this body of work. Sunflowers are presented in full bloom, still calling for the sky as they emerge from fingertips, and hands seem to tenderly reach out, caressing one another while twisting and extending out from the stalks of large flowers on the move. The duality of these physical forms allows viewers to reflect on the sculptures from many different perspectives and angles and, at the same time, linger in their strange beauty and playful energy.
Vincent Pocsik’s sculptures are meticulously carved and pieced together using wood and glue. This traditional and analog process is counterbalanced by the artist’s use of digital tools for rendering and virtually drawing his forms, most of which seem to harken to a time post-humanity as we know it. In this new realm, we’re not so different from the plants and trees that have become Pocsik’s subject and medium of choice, as our human anatomy has melded with botanical forms and flowers, creating poetic hybrids.
Flora and fauna are essentially the antennae of the Earth, quickly responding to the conditions around them. Here, as imagined and conjoined by Pocsik, there is a symbolic connection between the humans and plants now seen reaching and swaying together, linked as one, which speaks to our dependence on the natural world. These offerings feel like warnings as they abstractly relay the environment's increasingly tenuous state. Heightening the effect, several of the sculptures feel reminiscent of altars set up for others to encounter, with nature now making use of the bottles we drink from and the boots we wear. These works possess a more solemn feeling in that the only traces of our existence are the detritus of the materials we consume and use.
Despite the real-world concerns embedded in Pocsik’s surreal fantasies, there is an overarching feeling of hope attached to this body of work. Sunflowers are presented in full bloom, still calling for the sky as they emerge from fingertips, and hands seem to tenderly reach out, caressing one another while twisting and extending out from the stalks of large flowers on the move. The duality of these physical forms allows viewers to reflect on the sculptures from many different perspectives and angles and, at the same time, linger in their strange beauty and playful energy.
Vincent Pocsik’s sculptures are meticulously carved and pieced together using wood and glue. This traditional and analog process is counterbalanced by the artist’s use of digital tools for rendering and virtually drawing his forms, most of which seem to harken to a time post-humanity as we know it. In this new realm, we’re not so different from the plants and trees that have become Pocsik’s subject and medium of choice, as our human anatomy has melded with botanical forms and flowers, creating poetic hybrids.
Flora and fauna are essentially the antennae of the Earth, quickly responding to the conditions around them. Here, as imagined and conjoined by Pocsik, there is a symbolic connection between the humans and plants now seen reaching and swaying together, linked as one, which speaks to our dependence on the natural world. These offerings feel like warnings as they abstractly relay the environment's increasingly tenuous state. Heightening the effect, several of the sculptures feel reminiscent of altars set up for others to encounter, with nature now making use of the bottles we drink from and the boots we wear. These works possess a more solemn feeling in that the only traces of our existence are the detritus of the materials we consume and use.
Despite the real-world concerns embedded in Pocsik’s surreal fantasies, there is an overarching feeling of hope attached to this body of work. Sunflowers are presented in full bloom, still calling for the sky as they emerge from fingertips, and hands seem to tenderly reach out, caressing one another while twisting and extending out from the stalks of large flowers on the move. The duality of these physical forms allows viewers to reflect on the sculptures from many different perspectives and angles and, at the same time, linger in their strange beauty and playful energy.
Vincent Pocsik’s sculptures are meticulously carved and pieced together using wood and glue. This traditional and analog process is counterbalanced by the artist’s use of digital tools for rendering and virtually drawing his forms, most of which seem to harken to a time post-humanity as we know it. In this new realm, we’re not so different from the plants and trees that have become Pocsik’s subject and medium of choice, as our human anatomy has melded with botanical forms and flowers, creating poetic hybrids.
Flora and fauna are essentially the antennae of the Earth, quickly responding to the conditions around them. Here, as imagined and conjoined by Pocsik, there is a symbolic connection between the humans and plants now seen reaching and swaying together, linked as one, which speaks to our dependence on the natural world. These offerings feel like warnings as they abstractly relay the environment's increasingly tenuous state. Heightening the effect, several of the sculptures feel reminiscent of altars set up for others to encounter, with nature now making use of the bottles we drink from and the boots we wear. These works possess a more solemn feeling in that the only traces of our existence are the detritus of the materials we consume and use.
Despite the real-world concerns embedded in Pocsik’s surreal fantasies, there is an overarching feeling of hope attached to this body of work. Sunflowers are presented in full bloom, still calling for the sky as they emerge from fingertips, and hands seem to tenderly reach out, caressing one another while twisting and extending out from the stalks of large flowers on the move. The duality of these physical forms allows viewers to reflect on the sculptures from many different perspectives and angles and, at the same time, linger in their strange beauty and playful energy.
Vincent Pocsik’s sculptures are meticulously carved and pieced together using wood and glue. This traditional and analog process is counterbalanced by the artist’s use of digital tools for rendering and virtually drawing his forms, most of which seem to harken to a time post-humanity as we know it. In this new realm, we’re not so different from the plants and trees that have become Pocsik’s subject and medium of choice, as our human anatomy has melded with botanical forms and flowers, creating poetic hybrids.
Flora and fauna are essentially the antennae of the Earth, quickly responding to the conditions around them. Here, as imagined and conjoined by Pocsik, there is a symbolic connection between the humans and plants now seen reaching and swaying together, linked as one, which speaks to our dependence on the natural world. These offerings feel like warnings as they abstractly relay the environment's increasingly tenuous state. Heightening the effect, several of the sculptures feel reminiscent of altars set up for others to encounter, with nature now making use of the bottles we drink from and the boots we wear. These works possess a more solemn feeling in that the only traces of our existence are the detritus of the materials we consume and use.
Despite the real-world concerns embedded in Pocsik’s surreal fantasies, there is an overarching feeling of hope attached to this body of work. Sunflowers are presented in full bloom, still calling for the sky as they emerge from fingertips, and hands seem to tenderly reach out, caressing one another while twisting and extending out from the stalks of large flowers on the move. The duality of these physical forms allows viewers to reflect on the sculptures from many different perspectives and angles and, at the same time, linger in their strange beauty and playful energy.
Vincent Pocsik’s sculptures are meticulously carved and pieced together using wood and glue. This traditional and analog process is counterbalanced by the artist’s use of digital tools for rendering and virtually drawing his forms, most of which seem to harken to a time post-humanity as we know it. In this new realm, we’re not so different from the plants and trees that have become Pocsik’s subject and medium of choice, as our human anatomy has melded with botanical forms and flowers, creating poetic hybrids.
Flora and fauna are essentially the antennae of the Earth, quickly responding to the conditions around them. Here, as imagined and conjoined by Pocsik, there is a symbolic connection between the humans and plants now seen reaching and swaying together, linked as one, which speaks to our dependence on the natural world. These offerings feel like warnings as they abstractly relay the environment's increasingly tenuous state. Heightening the effect, several of the sculptures feel reminiscent of altars set up for others to encounter, with nature now making use of the bottles we drink from and the boots we wear. These works possess a more solemn feeling in that the only traces of our existence are the detritus of the materials we consume and use.
Despite the real-world concerns embedded in Pocsik’s surreal fantasies, there is an overarching feeling of hope attached to this body of work. Sunflowers are presented in full bloom, still calling for the sky as they emerge from fingertips, and hands seem to tenderly reach out, caressing one another while twisting and extending out from the stalks of large flowers on the move. The duality of these physical forms allows viewers to reflect on the sculptures from many different perspectives and angles and, at the same time, linger in their strange beauty and playful energy.
Vincent Pocsik’s sculptures are meticulously carved and pieced together using wood and glue. This traditional and analog process is counterbalanced by the artist’s use of digital tools for rendering and virtually drawing his forms, most of which seem to harken to a time post-humanity as we know it. In this new realm, we’re not so different from the plants and trees that have become Pocsik’s subject and medium of choice, as our human anatomy has melded with botanical forms and flowers, creating poetic hybrids.
Flora and fauna are essentially the antennae of the Earth, quickly responding to the conditions around them. Here, as imagined and conjoined by Pocsik, there is a symbolic connection between the humans and plants now seen reaching and swaying together, linked as one, which speaks to our dependence on the natural world. These offerings feel like warnings as they abstractly relay the environment's increasingly tenuous state. Heightening the effect, several of the sculptures feel reminiscent of altars set up for others to encounter, with nature now making use of the bottles we drink from and the boots we wear. These works possess a more solemn feeling in that the only traces of our existence are the detritus of the materials we consume and use.
Despite the real-world concerns embedded in Pocsik’s surreal fantasies, there is an overarching feeling of hope attached to this body of work. Sunflowers are presented in full bloom, still calling for the sky as they emerge from fingertips, and hands seem to tenderly reach out, caressing one another while twisting and extending out from the stalks of large flowers on the move. The duality of these physical forms allows viewers to reflect on the sculptures from many different perspectives and angles and, at the same time, linger in their strange beauty and playful energy.
Vincent Pocsik’s sculptures are meticulously carved and pieced together using wood and glue. This traditional and analog process is counterbalanced by the artist’s use of digital tools for rendering and virtually drawing his forms, most of which seem to harken to a time post-humanity as we know it. In this new realm, we’re not so different from the plants and trees that have become Pocsik’s subject and medium of choice, as our human anatomy has melded with botanical forms and flowers, creating poetic hybrids.
Flora and fauna are essentially the antennae of the Earth, quickly responding to the conditions around them. Here, as imagined and conjoined by Pocsik, there is a symbolic connection between the humans and plants now seen reaching and swaying together, linked as one, which speaks to our dependence on the natural world. These offerings feel like warnings as they abstractly relay the environment's increasingly tenuous state. Heightening the effect, several of the sculptures feel reminiscent of altars set up for others to encounter, with nature now making use of the bottles we drink from and the boots we wear. These works possess a more solemn feeling in that the only traces of our existence are the detritus of the materials we consume and use.
Despite the real-world concerns embedded in Pocsik’s surreal fantasies, there is an overarching feeling of hope attached to this body of work. Sunflowers are presented in full bloom, still calling for the sky as they emerge from fingertips, and hands seem to tenderly reach out, caressing one another while twisting and extending out from the stalks of large flowers on the move. The duality of these physical forms allows viewers to reflect on the sculptures from many different perspectives and angles and, at the same time, linger in their strange beauty and playful energy.
Vincent Pocsik’s sculptures are meticulously carved and pieced together using wood and glue. This traditional and analog process is counterbalanced by the artist’s use of digital tools for rendering and virtually drawing his forms, most of which seem to harken to a time post-humanity as we know it. In this new realm, we’re not so different from the plants and trees that have become Pocsik’s subject and medium of choice, as our human anatomy has melded with botanical forms and flowers, creating poetic hybrids.
Flora and fauna are essentially the antennae of the Earth, quickly responding to the conditions around them. Here, as imagined and conjoined by Pocsik, there is a symbolic connection between the humans and plants now seen reaching and swaying together, linked as one, which speaks to our dependence on the natural world. These offerings feel like warnings as they abstractly relay the environment's increasingly tenuous state. Heightening the effect, several of the sculptures feel reminiscent of altars set up for others to encounter, with nature now making use of the bottles we drink from and the boots we wear. These works possess a more solemn feeling in that the only traces of our existence are the detritus of the materials we consume and use.
Despite the real-world concerns embedded in Pocsik’s surreal fantasies, there is an overarching feeling of hope attached to this body of work. Sunflowers are presented in full bloom, still calling for the sky as they emerge from fingertips, and hands seem to tenderly reach out, caressing one another while twisting and extending out from the stalks of large flowers on the move. The duality of these physical forms allows viewers to reflect on the sculptures from many different perspectives and angles and, at the same time, linger in their strange beauty and playful energy.
Vincent Pocsik’s sculptures are meticulously carved and pieced together using wood and glue. This traditional and analog process is counterbalanced by the artist’s use of digital tools for rendering and virtually drawing his forms, most of which seem to harken to a time post-humanity as we know it. In this new realm, we’re not so different from the plants and trees that have become Pocsik’s subject and medium of choice, as our human anatomy has melded with botanical forms and flowers, creating poetic hybrids.
Flora and fauna are essentially the antennae of the Earth, quickly responding to the conditions around them. Here, as imagined and conjoined by Pocsik, there is a symbolic connection between the humans and plants now seen reaching and swaying together, linked as one, which speaks to our dependence on the natural world. These offerings feel like warnings as they abstractly relay the environment's increasingly tenuous state. Heightening the effect, several of the sculptures feel reminiscent of altars set up for others to encounter, with nature now making use of the bottles we drink from and the boots we wear. These works possess a more solemn feeling in that the only traces of our existence are the detritus of the materials we consume and use.
Despite the real-world concerns embedded in Pocsik’s surreal fantasies, there is an overarching feeling of hope attached to this body of work. Sunflowers are presented in full bloom, still calling for the sky as they emerge from fingertips, and hands seem to tenderly reach out, caressing one another while twisting and extending out from the stalks of large flowers on the move. The duality of these physical forms allows viewers to reflect on the sculptures from many different perspectives and angles and, at the same time, linger in their strange beauty and playful energy.
Undulating wood, like a rivulet of water seized mid-flow, ripples into the recognizable shape of a chair, but is made unfamiliar by its confluence of figurative forms. Like a latter day Dr. Moreau, Pocsik splices the suggestion of human limbs into the chair, making the human indistinguishable from the utilitarian. There is a sense of playfulness, the language we use to describe furniture — a chair’s “arms”, its “legs,” its “feet” — given literal purchase. The chair’s seat spills into an attenuated front leg, an outsize foot protruding from the frame. When occupied, you can imagine the sitter making an as-yet undefined creature, a new many-legged thing.
1 - “Damned to love(Four feet and two bodies)" - 24” x 64” x 23”H - Carved black walnut
2 - “Chair 6(Hand holding shaft and foot)” - 24” x24” x43”H - Carved black walnut
3 - “Chair 5(Large foot, elbow ear and hand)” - 27” x 30” x 40”H - Carved black walnut
4 - “Chair 4(Flowering ears, hand and foot)” - 24” x24” x43”H - Carved and bleached black Walnut
5 - “Horned Stool(Two feet and two horns)”- 28” x 36” x 24”H
6 - "Chair 1(Spiked bodies and two feet)” - 24” x 30" x 38”H - Carved black walnut
Undulating wood, like a rivulet of water seized mid-flow, ripples into the recognizable shape of a chair, but is made unfamiliar by its confluence of figurative forms. Like a latter day Dr. Moreau, Pocsik splices the suggestion of human limbs into the chair, making the human indistinguishable from the utilitarian. There is a sense of playfulness, the language we use to describe furniture — a chair’s “arms”, its “legs,” its “feet” — given literal purchase. The chair’s seat spills into an attenuated front leg, an outsize foot protruding from the frame. When occupied, you can imagine the sitter making an as-yet undefined creature, a new many-legged thing.
1 - “Damned to love(Four feet and two bodies)" - 24” x 64” x 23”H - Carved black walnut
2 - “Chair 6(Hand holding shaft and foot)” - 24” x24” x43”H - Carved black walnut
3 - “Chair 5(Large foot, elbow ear and hand)” - 27” x 30” x 40”H - Carved black walnut
4 - “Chair 4(Flowering ears, hand and foot)” - 24” x24” x43”H - Carved and bleached black Walnut
5 - “Horned Stool(Two feet and two horns)”- 28” x 36” x 24”H
6 - "Chair 1(Spiked bodies and two feet)” - 24” x 30" x 38”H - Carved black walnut
Undulating wood, like a rivulet of water seized mid-flow, ripples into the recognizable shape of a chair, but is made unfamiliar by its confluence of figurative forms. Like a latter day Dr. Moreau, Pocsik splices the suggestion of human limbs into the chair, making the human indistinguishable from the utilitarian. There is a sense of playfulness, the language we use to describe furniture — a chair’s “arms”, its “legs,” its “feet” — given literal purchase. The chair’s seat spills into an attenuated front leg, an outsize foot protruding from the frame. When occupied, you can imagine the sitter making an as-yet undefined creature, a new many-legged thing.
1 - “Damned to love(Four feet and two bodies)" - 24” x 64” x 23”H - Carved black walnut
2 - “Chair 6(Hand holding shaft and foot)” - 24” x24” x43”H - Carved black walnut
3 - “Chair 5(Large foot, elbow ear and hand)” - 27” x 30” x 40”H - Carved black walnut
4 - “Chair 4(Flowering ears, hand and foot)” - 24” x24” x43”H - Carved and bleached black Walnut
5 - “Horned Stool(Two feet and two horns)”- 28” x 36” x 24”H
6 - "Chair 1(Spiked bodies and two feet)” - 24” x 30" x 38”H - Carved black walnut
Undulating wood, like a rivulet of water seized mid-flow, ripples into the recognizable shape of a chair, but is made unfamiliar by its confluence of figurative forms. Like a latter day Dr. Moreau, Pocsik splices the suggestion of human limbs into the chair, making the human indistinguishable from the utilitarian. There is a sense of playfulness, the language we use to describe furniture — a chair’s “arms”, its “legs,” its “feet” — given literal purchase. The chair’s seat spills into an attenuated front leg, an outsize foot protruding from the frame. When occupied, you can imagine the sitter making an as-yet undefined creature, a new many-legged thing.
1 - “Damned to love(Four feet and two bodies)" - 24” x 64” x 23”H - Carved black walnut
2 - “Chair 6(Hand holding shaft and foot)” - 24” x24” x43”H - Carved black walnut
3 - “Chair 5(Large foot, elbow ear and hand)” - 27” x 30” x 40”H - Carved black walnut
4 - “Chair 4(Flowering ears, hand and foot)” - 24” x24” x43”H - Carved and bleached black Walnut
5 - “Horned Stool(Two feet and two horns)”- 28” x 36” x 24”H
6 - "Chair 1(Spiked bodies and two feet)” - 24” x 30" x 38”H - Carved black walnut
Undulating wood, like a rivulet of water seized mid-flow, ripples into the recognizable shape of a chair, but is made unfamiliar by its confluence of figurative forms. Like a latter day Dr. Moreau, Pocsik splices the suggestion of human limbs into the chair, making the human indistinguishable from the utilitarian. There is a sense of playfulness, the language we use to describe furniture — a chair’s “arms”, its “legs,” its “feet” — given literal purchase. The chair’s seat spills into an attenuated front leg, an outsize foot protruding from the frame. When occupied, you can imagine the sitter making an as-yet undefined creature, a new many-legged thing.
1 - “Damned to love(Four feet and two bodies)" - 24” x 64” x 23”H - Carved black walnut
2 - “Chair 6(Hand holding shaft and foot)” - 24” x24” x43”H - Carved black walnut
3 - “Chair 5(Large foot, elbow ear and hand)” - 27” x 30” x 40”H - Carved black walnut
4 - “Chair 4(Flowering ears, hand and foot)” - 24” x24” x43”H - Carved and bleached black Walnut
5 - “Horned Stool(Two feet and two horns)”- 28” x 36” x 24”H
6 - "Chair 1(Spiked bodies and two feet)” - 24” x 30" x 38”H - Carved black walnut
Undulating wood, like a rivulet of water seized mid-flow, ripples into the recognizable shape of a chair, but is made unfamiliar by its confluence of figurative forms. Like a latter day Dr. Moreau, Pocsik splices the suggestion of human limbs into the chair, making the human indistinguishable from the utilitarian. There is a sense of playfulness, the language we use to describe furniture — a chair’s “arms”, its “legs,” its “feet” — given literal purchase. The chair’s seat spills into an attenuated front leg, an outsize foot protruding from the frame. When occupied, you can imagine the sitter making an as-yet undefined creature, a new many-legged thing.
1 - “Damned to love(Four feet and two bodies)" - 24” x 64” x 23”H - Carved black walnut
2 - “Chair 6(Hand holding shaft and foot)” - 24” x24” x43”H - Carved black walnut
3 - “Chair 5(Large foot, elbow ear and hand)” - 27” x 30” x 40”H - Carved black walnut
4 - “Chair 4(Flowering ears, hand and foot)” - 24” x24” x43”H - Carved and bleached black Walnut
5 - “Horned Stool(Two feet and two horns)”- 28” x 36” x 24”H
6 - "Chair 1(Spiked bodies and two feet)” - 24” x 30" x 38”H - Carved black walnut
Undulating wood, like a rivulet of water seized mid-flow, ripples into the recognizable shape of a chair, but is made unfamiliar by its confluence of figurative forms. Like a latter day Dr. Moreau, Pocsik splices the suggestion of human limbs into the chair, making the human indistinguishable from the utilitarian. There is a sense of playfulness, the language we use to describe furniture — a chair’s “arms”, its “legs,” its “feet” — given literal purchase. The chair’s seat spills into an attenuated front leg, an outsize foot protruding from the frame. When occupied, you can imagine the sitter making an as-yet undefined creature, a new many-legged thing.
1 - “Damned to love(Four feet and two bodies)" - 24” x 64” x 23”H - Carved black walnut
2 - “Chair 6(Hand holding shaft and foot)” - 24” x24” x43”H - Carved black walnut
3 - “Chair 5(Large foot, elbow ear and hand)” - 27” x 30” x 40”H - Carved black walnut
4 - “Chair 4(Flowering ears, hand and foot)” - 24” x24” x43”H - Carved and bleached black Walnut
5 - “Horned Stool(Two feet and two horns)”- 28” x 36” x 24”H
6 - "Chair 1(Spiked bodies and two feet)” - 24” x 30" x 38”H - Carved black walnut
Undulating wood, like a rivulet of water seized mid-flow, ripples into the recognizable shape of a chair, but is made unfamiliar by its confluence of figurative forms. Like a latter day Dr. Moreau, Pocsik splices the suggestion of human limbs into the chair, making the human indistinguishable from the utilitarian. There is a sense of playfulness, the language we use to describe furniture — a chair’s “arms”, its “legs,” its “feet” — given literal purchase. The chair’s seat spills into an attenuated front leg, an outsize foot protruding from the frame. When occupied, you can imagine the sitter making an as-yet undefined creature, a new many-legged thing.
1 - “Damned to love(Four feet and two bodies)" - 24” x 64” x 23”H - Carved black walnut
2 - “Chair 6(Hand holding shaft and foot)” - 24” x24” x43”H - Carved black walnut
3 - “Chair 5(Large foot, elbow ear and hand)” - 27” x 30” x 40”H - Carved black walnut
4 - “Chair 4(Flowering ears, hand and foot)” - 24” x24” x43”H - Carved and bleached black Walnut
5 - “Horned Stool(Two feet and two horns)”- 28” x 36” x 24”H
6 - "Chair 1(Spiked bodies and two feet)” - 24” x 30" x 38”H - Carved black walnut
Undulating wood, like a rivulet of water seized mid-flow, ripples into the recognizable shape of a chair, but is made unfamiliar by its confluence of figurative forms. Like a latter day Dr. Moreau, Pocsik splices the suggestion of human limbs into the chair, making the human indistinguishable from the utilitarian. There is a sense of playfulness, the language we use to describe furniture — a chair’s “arms”, its “legs,” its “feet” — given literal purchase. The chair’s seat spills into an attenuated front leg, an outsize foot protruding from the frame. When occupied, you can imagine the sitter making an as-yet undefined creature, a new many-legged thing.
1 - “Damned to love(Four feet and two bodies)" - 24” x 64” x 23”H - Carved black walnut
2 - “Chair 6(Hand holding shaft and foot)” - 24” x24” x43”H - Carved black walnut
3 - “Chair 5(Large foot, elbow ear and hand)” - 27” x 30” x 40”H - Carved black walnut
4 - “Chair 4(Flowering ears, hand and foot)” - 24” x24” x43”H - Carved and bleached black Walnut
5 - “Horned Stool(Two feet and two horns)”- 28” x 36” x 24”H
6 - "Chair 1(Spiked bodies and two feet)” - 24” x 30" x 38”H - Carved black walnut
Undulating wood, like a rivulet of water seized mid-flow, ripples into the recognizable shape of a chair, but is made unfamiliar by its confluence of figurative forms. Like a latter day Dr. Moreau, Pocsik splices the suggestion of human limbs into the chair, making the human indistinguishable from the utilitarian. There is a sense of playfulness, the language we use to describe furniture — a chair’s “arms”, its “legs,” its “feet” — given literal purchase. The chair’s seat spills into an attenuated front leg, an outsize foot protruding from the frame. When occupied, you can imagine the sitter making an as-yet undefined creature, a new many-legged thing.
1 - “Damned to love(Four feet and two bodies)" - 24” x 64” x 23”H - Carved black walnut
2 - “Chair 6(Hand holding shaft and foot)” - 24” x24” x43”H - Carved black walnut
3 - “Chair 5(Large foot, elbow ear and hand)” - 27” x 30” x 40”H - Carved black walnut
4 - “Chair 4(Flowering ears, hand and foot)” - 24” x24” x43”H - Carved and bleached black Walnut
5 - “Horned Stool(Two feet and two horns)”- 28” x 36” x 24”H
6 - "Chair 1(Spiked bodies and two feet)” - 24” x 30" x 38”H - Carved black walnut
Undulating wood, like a rivulet of water seized mid-flow, ripples into the recognizable shape of a chair, but is made unfamiliar by its confluence of figurative forms. Like a latter day Dr. Moreau, Pocsik splices the suggestion of human limbs into the chair, making the human indistinguishable from the utilitarian. There is a sense of playfulness, the language we use to describe furniture — a chair’s “arms”, its “legs,” its “feet” — given literal purchase. The chair’s seat spills into an attenuated front leg, an outsize foot protruding from the frame. When occupied, you can imagine the sitter making an as-yet undefined creature, a new many-legged thing.
1 - “Damned to love(Four feet and two bodies)" - 24” x 64” x 23”H - Carved black walnut
2 - “Chair 6(Hand holding shaft and foot)” - 24” x24” x43”H - Carved black walnut
3 - “Chair 5(Large foot, elbow ear and hand)” - 27” x 30” x 40”H - Carved black walnut
4 - “Chair 4(Flowering ears, hand and foot)” - 24” x24” x43”H - Carved and bleached black Walnut
5 - “Horned Stool(Two feet and two horns)”- 28” x 36” x 24”H
6 - "Chair 1(Spiked bodies and two feet)” - 24” x 30" x 38”H - Carved black walnut
Undulating wood, like a rivulet of water seized mid-flow, ripples into the recognizable shape of a chair, but is made unfamiliar by its confluence of figurative forms. Like a latter day Dr. Moreau, Pocsik splices the suggestion of human limbs into the chair, making the human indistinguishable from the utilitarian. There is a sense of playfulness, the language we use to describe furniture — a chair’s “arms”, its “legs,” its “feet” — given literal purchase. The chair’s seat spills into an attenuated front leg, an outsize foot protruding from the frame. When occupied, you can imagine the sitter making an as-yet undefined creature, a new many-legged thing.
1 - “Damned to love(Four feet and two bodies)" - 24” x 64” x 23”H - Carved black walnut
2 - “Chair 6(Hand holding shaft and foot)” - 24” x24” x43”H - Carved black walnut
3 - “Chair 5(Large foot, elbow ear and hand)” - 27” x 30” x 40”H - Carved black walnut
4 - “Chair 4(Flowering ears, hand and foot)” - 24” x24” x43”H - Carved and bleached black Walnut
5 - “Horned Stool(Two feet and two horns)”- 28” x 36” x 24”H
6 - "Chair 1(Spiked bodies and two feet)” - 24” x 30" x 38”H - Carved black walnut
Undulating wood, like a rivulet of water seized mid-flow, ripples into the recognizable shape of a chair, but is made unfamiliar by its confluence of figurative forms. Like a latter day Dr. Moreau, Pocsik splices the suggestion of human limbs into the chair, making the human indistinguishable from the utilitarian. There is a sense of playfulness, the language we use to describe furniture — a chair’s “arms”, its “legs,” its “feet” — given literal purchase. The chair’s seat spills into an attenuated front leg, an outsize foot protruding from the frame. When occupied, you can imagine the sitter making an as-yet undefined creature, a new many-legged thing.
1 - “Damned to love(Four feet and two bodies)" - 24” x 64” x 23”H - Carved black walnut
2 - “Chair 6(Hand holding shaft and foot)” - 24” x24” x43”H - Carved black walnut
3 - “Chair 5(Large foot, elbow ear and hand)” - 27” x 30” x 40”H - Carved black walnut
4 - “Chair 4(Flowering ears, hand and foot)” - 24” x24” x43”H - Carved and bleached black Walnut
5 - “Horned Stool(Two feet and two horns)”- 28” x 36” x 24”H
6 - "Chair 1(Spiked bodies and two feet)” - 24” x 30" x 38”H - Carved black walnut
Undulating wood, like a rivulet of water seized mid-flow, ripples into the recognizable shape of a chair, but is made unfamiliar by its confluence of figurative forms. Like a latter day Dr. Moreau, Pocsik splices the suggestion of human limbs into the chair, making the human indistinguishable from the utilitarian. There is a sense of playfulness, the language we use to describe furniture — a chair’s “arms”, its “legs,” its “feet” — given literal purchase. The chair’s seat spills into an attenuated front leg, an outsize foot protruding from the frame. When occupied, you can imagine the sitter making an as-yet undefined creature, a new many-legged thing.
1 - “Damned to love(Four feet and two bodies)" - 24” x 64” x 23”H - Carved black walnut
2 - “Chair 6(Hand holding shaft and foot)” - 24” x24” x43”H - Carved black walnut
3 - “Chair 5(Large foot, elbow ear and hand)” - 27” x 30” x 40”H - Carved black walnut
4 - “Chair 4(Flowering ears, hand and foot)” - 24” x24” x43”H - Carved and bleached black Walnut
5 - “Horned Stool(Two feet and two horns)”- 28” x 36” x 24”H
6 - "Chair 1(Spiked bodies and two feet)” - 24” x 30" x 38”H - Carved black walnut
Undulating wood, like a rivulet of water seized mid-flow, ripples into the recognizable shape of a chair, but is made unfamiliar by its confluence of figurative forms. Like a latter day Dr. Moreau, Pocsik splices the suggestion of human limbs into the chair, making the human indistinguishable from the utilitarian. There is a sense of playfulness, the language we use to describe furniture — a chair’s “arms”, its “legs,” its “feet” — given literal purchase. The chair’s seat spills into an attenuated front leg, an outsize foot protruding from the frame. When occupied, you can imagine the sitter making an as-yet undefined creature, a new many-legged thing.
1 - “Damned to love(Four feet and two bodies)" - 24” x 64” x 23”H - Carved black walnut
2 - “Chair 6(Hand holding shaft and foot)” - 24” x24” x43”H - Carved black walnut
3 - “Chair 5(Large foot, elbow ear and hand)” - 27” x 30” x 40”H - Carved black walnut
4 - “Chair 4(Flowering ears, hand and foot)” - 24” x24” x43”H - Carved and bleached black Walnut
5 - “Horned Stool(Two feet and two horns)”- 28” x 36” x 24”H
6 - "Chair 1(Spiked bodies and two feet)” - 24” x 30" x 38”H - Carved black walnut
Undulating wood, like a rivulet of water seized mid-flow, ripples into the recognizable shape of a chair, but is made unfamiliar by its confluence of figurative forms. Like a latter day Dr. Moreau, Pocsik splices the suggestion of human limbs into the chair, making the human indistinguishable from the utilitarian. There is a sense of playfulness, the language we use to describe furniture — a chair’s “arms”, its “legs,” its “feet” — given literal purchase. The chair’s seat spills into an attenuated front leg, an outsize foot protruding from the frame. When occupied, you can imagine the sitter making an as-yet undefined creature, a new many-legged thing.
1 - “Damned to love(Four feet and two bodies)" - 24” x 64” x 23”H - Carved black walnut
2 - “Chair 6(Hand holding shaft and foot)” - 24” x24” x43”H - Carved black walnut
3 - “Chair 5(Large foot, elbow ear and hand)” - 27” x 30” x 40”H - Carved black walnut
4 - “Chair 4(Flowering ears, hand and foot)” - 24” x24” x43”H - Carved and bleached black Walnut
5 - “Horned Stool(Two feet and two horns)”- 28” x 36” x 24”H
6 - "Chair 1(Spiked bodies and two feet)” - 24” x 30" x 38”H - Carved black walnut
Undulating wood, like a rivulet of water seized mid-flow, ripples into the recognizable shape of a chair, but is made unfamiliar by its confluence of figurative forms. Like a latter day Dr. Moreau, Pocsik splices the suggestion of human limbs into the chair, making the human indistinguishable from the utilitarian. There is a sense of playfulness, the language we use to describe furniture — a chair’s “arms”, its “legs,” its “feet” — given literal purchase. The chair’s seat spills into an attenuated front leg, an outsize foot protruding from the frame. When occupied, you can imagine the sitter making an as-yet undefined creature, a new many-legged thing.
1 - “Damned to love(Four feet and two bodies)" - 24” x 64” x 23”H - Carved black walnut
2 - “Chair 6(Hand holding shaft and foot)” - 24” x24” x43”H - Carved black walnut
3 - “Chair 5(Large foot, elbow ear and hand)” - 27” x 30” x 40”H - Carved black walnut
4 - “Chair 4(Flowering ears, hand and foot)” - 24” x24” x43”H - Carved and bleached black Walnut
5 - “Horned Stool(Two feet and two horns)”- 28” x 36” x 24”H
6 - "Chair 1(Spiked bodies and two feet)” - 24” x 30" x 38”H - Carved black walnut
Undulating wood, like a rivulet of water seized mid-flow, ripples into the recognizable shape of a chair, but is made unfamiliar by its confluence of figurative forms. Like a latter day Dr. Moreau, Pocsik splices the suggestion of human limbs into the chair, making the human indistinguishable from the utilitarian. There is a sense of playfulness, the language we use to describe furniture — a chair’s “arms”, its “legs,” its “feet” — given literal purchase. The chair’s seat spills into an attenuated front leg, an outsize foot protruding from the frame. When occupied, you can imagine the sitter making an as-yet undefined creature, a new many-legged thing.
1 - “Damned to love(Four feet and two bodies)" - 24” x 64” x 23”H - Carved black walnut
2 - “Chair 6(Hand holding shaft and foot)” - 24” x24” x43”H - Carved black walnut
3 - “Chair 5(Large foot, elbow ear and hand)” - 27” x 30” x 40”H - Carved black walnut
4 - “Chair 4(Flowering ears, hand and foot)” - 24” x24” x43”H - Carved and bleached black Walnut
5 - “Horned Stool(Two feet and two horns)”- 28” x 36” x 24”H
6 - "Chair 1(Spiked bodies and two feet)” - 24” x 30" x 38”H - Carved black walnut
Undulating wood, like a rivulet of water seized mid-flow, ripples into the recognizable shape of a chair, but is made unfamiliar by its confluence of figurative forms. Like a latter day Dr. Moreau, Pocsik splices the suggestion of human limbs into the chair, making the human indistinguishable from the utilitarian. There is a sense of playfulness, the language we use to describe furniture — a chair’s “arms”, its “legs,” its “feet” — given literal purchase. The chair’s seat spills into an attenuated front leg, an outsize foot protruding from the frame. When occupied, you can imagine the sitter making an as-yet undefined creature, a new many-legged thing.
1 - “Damned to love(Four feet and two bodies)" - 24” x 64” x 23”H - Carved black walnut
2 - “Chair 6(Hand holding shaft and foot)” - 24” x24” x43”H - Carved black walnut
3 - “Chair 5(Large foot, elbow ear and hand)” - 27” x 30” x 40”H - Carved black walnut
4 - “Chair 4(Flowering ears, hand and foot)” - 24” x24” x43”H - Carved and bleached black Walnut
5 - “Horned Stool(Two feet and two horns)”- 28” x 36” x 24”H
6 - "Chair 1(Spiked bodies and two feet)” - 24” x 30" x 38”H - Carved black walnut
Undulating wood, like a rivulet of water seized mid-flow, ripples into the recognizable shape of a chair, but is made unfamiliar by its confluence of figurative forms. Like a latter day Dr. Moreau, Pocsik splices the suggestion of human limbs into the chair, making the human indistinguishable from the utilitarian. There is a sense of playfulness, the language we use to describe furniture — a chair’s “arms”, its “legs,” its “feet” — given literal purchase. The chair’s seat spills into an attenuated front leg, an outsize foot protruding from the frame. When occupied, you can imagine the sitter making an as-yet undefined creature, a new many-legged thing.
1 - “Damned to love(Four feet and two bodies)" - 24” x 64” x 23”H - Carved black walnut
2 - “Chair 6(Hand holding shaft and foot)” - 24” x24” x43”H - Carved black walnut
3 - “Chair 5(Large foot, elbow ear and hand)” - 27” x 30” x 40”H - Carved black walnut
4 - “Chair 4(Flowering ears, hand and foot)” - 24” x24” x43”H - Carved and bleached black Walnut
5 - “Horned Stool(Two feet and two horns)”- 28” x 36” x 24”H
6 - "Chair 1(Spiked bodies and two feet)” - 24” x 30" x 38”H - Carved black walnut