KDR

Florida Room IV brings together five distinctive voices, each contributing their unique perspective to sculpture. The exhibition explores how materials can be transformed and reveal the poetic potential of discarded objects, as well as the interplay between endurance and vulnerability. This collection of sculptural works, while individually unique, demonstrates a shared commitment to discovering the extraordinary within the mundane—transforming everyday detritus, such as discarded bristles, urban fragments, and industrial castoffs, into contemplative explorations with profound meditations on form, process, and meaning.

Catalan artist Elisa Arimany was a pioneer in large steel sculpture whose practice spanned five decades. She exhibited alongside contemporaries, such as Mark di Suvero, Keith Haring, Beverly Pepper, and Eve Sussman. Arimany’s sculptures achieve their compelling tensions without relying on material contrasts—steel, resin, rocks, and household objects find equilibrium in her compositions, creating moments of suspended animation that transcend their physical properties to suggest deeper forces at play. Her work is about sensuality, mystery, and motion. Abstract yet never mechanical, her sculptures carry an inherent sense of humanity, which makes them accessible and allows them to make powerful statements on both a monumental and an intimate scale.

Working in New York City, Michaela Bathrick translates urban forms—such as brackets, parking crossbars, and structural joists—into sculptural works using cardboard models, silicone molds, and cement casts. Her recent series features the letter P mounted horizontally on walls, appearing abstract from the front but revealing the letter’s profile from the side, creating tunnel-like sight lines and acoustic spaces. Central to her practice is repetition: creating multiples reveals her process while suggesting commercial production, with each cast bearing unique marks that collectively illustrate her sculptural method.

Driven by experimentation and craft, Eric Oglander creates intimately scaled minimalist sculptures that explore subtle optical and scientific phenomena. Using everyday materials like string, plywood, branches, metal, and found objects that unify and neutralize, rendering the newly formed objects into a coherent whole thought. In one sculpture, he bends street sweeper bristles into bow-like forms to examine how “constant stress” travels along a single string. The resulting works each possess an airiness and delicate quality. While most of his sculptures exist purely for their aesthetic value, some are capable of throwing small projectiles. These Trebuchets and Catapults pieces stem from Eric’s childhood fascination with medieval siege engines discovered while watching the History Channel. They now embody his mature artistic practice, balancing play, physics, and visual appeal through a lens of enduring childlike wonder.