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Wilkes' installations had once been filled with glass, mannequins, and modern contrivances which tempered the more mystic undertones, placing its occult firmly in the present, a very contemporary sculpture, fashionably on time, and ahead of those artists quickly following with so much figurative-assemblage that now Wilkes is ominously in retrograde from, drawing to the past of Segal/Keinholz/Bourgoise, a primitive figuration foreboding, that, if Wilkes continues the clairvoyance, this pre-modern desolation may actually be the future.
See too: David Lieske at MUMOK, Cathy Wilkes at Tramway