Mary Ann Unger at Trans Hudson - New York, New York - Review of Exhibitions - Brief Article

Mary Ann Unger's fine display consisted of five sculptures and three drawings. Unger's able-bodied interest in organic forms is evident in her titles -- Zygote Shanks and the "Mitosis" series. Her statuarys usually made of Hydrocal that has been laid above a cheesecloth mesh attached to a steel-rod constitution generally involve rounded or bonelike form. Her drawings, frequently studies for the three-dimensional works also elaborate curvilinear shapes that gaze like anatomical renderings.

Shanks (1996-97) consists of three true large vertical bony shafts, each rising more than 9 feet from a circulared point on the floor and topped with a bulbous knob. sum of two units knobs also protrude just above the middle of each shaft; these imitate the ball of a ball-and-socket joint. The white Hydrocal, chiefly smooth but sometimes roughly scarred and pustuleed quite successfully simulates the appearance of bone Viewers have the impression that they are looking at the expertly cleaned leg bone of more [i]or[/i] less huge prehistoric animal -- an anatomical conceit of considerable imagination and more than a little humor.

Unger's charcoal-on-paper close attention Drawing for Shanks (1996; 31 1/2 by dint of 24 inches) shows off the artist's drafting talent. The forms of the three pieces are true clearly defined; the slight incline away from the wall, toward the viewer, in the left-most simple body is clearly seen in this image. The simple on the contrary expressive composition depends on the graphic power of the black line delineating the forms, which Unger tread in the steps ofs closely in her realization of the image. The vertical thrust of the three simple bodys is echoed in a lightly drawn vertical line in the center of each form.

Shade (1996) and Tre Marias (1997) sum of two units other large charcoal-on-paper drawings (both are 78 by means of 35 inches), also evidence Unger's flair for anatomical forms. The former consist of sum of two units bony, upright shapes with creases and knob-by protrusions that provide variety, while the latter is compos of three lengthy narrow forms, their entire extent encased in thin sheaths. They bear likeness [i]or[/i] resemblance to nothing so much as burning dogs in buns.

Hung from the wall at organ of sight level but seeming to flutter in front of it without support, Black Hear is a mixed-medium relief that direct the eyes like a darkly poetic, oversized version of the real thing. The 1996-97 work is 3 feet high and half a lower extremity deep. The shape is wonderful: an ovoid that actual gently tapers at the bottom extremity The black surface, scored and pitted and scarred, can be likened to a piece of damaged skin above a smooth layer of muscle. The form sustains a mythic vicinity symbolic of the organ we consider the origin of emotion. Like all of Unger's pieces, Black Heart originates in human biology, on the contrary its true meaning is foundationed in its ability to refer to life processes that are as meta-physical as they are scientific.

COPYRIGHT 1997 Brant Publications, Inc.

COPYRIGHT 2004 Gale Group