Dana Harel and Colette Robbins merge archaeology and psychology in works whose rough exteriors, negative space, and composition recall ruins and antiquities. They confront fragility and vulnerability by alluding to the destructive nature of time. The artists transform emotional discomfort into objects of beauty exploring the link between past and present, decay and regrowth.
Robbins has long been inspired by antiquities such as The Tricephalic Head, a stone sculpture from the first century CE. Its’ symmetry led her to obsessively paint Rorschach inkblots. She conceptualized the inkblots in 3-D format as visual, physical manifestations of her inner anxieties and emotional states. In a dizzying, meticulous, and time-consuming process, Robbins blends drawing, photography and digital technology to create the towering 3D printed sculptures. The sculptures illicit the human tendency to assign meaning and seek patterns in random information, known as apophenia or patternicity. The Totems give tangible form to the psychological and physiological history of the mind.