Alan Wiener's small-scaled, multi-leveled sculptures begin as a liquid and end up solid. Their puddled modular forms remind us of that magic. While standing in front of an amazing building or amazing person, I am often fascinated by the very complex and barely knowable process by which they came to be. These sculptures, which often reference both hi-rise buildings and something near to human, play with the recognition of that fascination. As one stoops or bends to zoom in to scrutinize the deceptive building process and its subsequent liquid-to-solid drama, the interior becomes visible and reveals the skeletal network that structures the floors of empty/full chambers. Along the way, notions of inside and outside unsettlingly flip flop. The move from the outer moist flesh to inner dry skeleton parallels the dynamism of micro/macro shifts these sculptures induce, and while pulsing through these experiences, they bless us with a bit of vertigo. Though structurally strong, the scale and materiality renders these creatures vulnerable if somewhat naked. As they stand exposed on their pedestals, their presence amplifies into performance and as such, we are invited to view, examine, dissect, appreciate, comprehend...it is a digestion of sorts. Alan Wiener was born in Philadelphia in 1968, has a MFA from Tyler School of Art, Elkin Park, PA (1993), and lives and works in Brooklyn. He began exhibiting with Feature Inc. in 1998, and this is his third one-person exhibition with the gallery.

Untitled, 2009; Aqua-Resin; 4.75 x 3.25 x 6”: $ 4,500

Palace of the Clam’s Dream, 2009; Aqua-Resin; 8.5 x 11 x 8.75”; $ 9,500

Untitled, 2009; Aqua-Resin; 4.5 x 3.75 x 5”: $ 4,500

Untitled, 2010; Aqua-Resin; 8.75 x 11 x 9.25”; $ 9,500

Untitled, 2010 (detail)

Untitled, 2011; Hydrocal; 10.75 x 19 x 13”; $ 12,500

Untitled, 2012; Aqua-Resin; 6 x 5.5 x 3.75”: $ 5,000

Untitled, 2012; Hydrocal; 22 x 22.5 x 14.25”; $ 15,000