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The Jewel-crusted success of Hiorns sulfate sculptures almost eclipsed the less fabulous concoctions-as-representations for the surfaced body. Here the latex skins on polycarbonate panels - looking like congealing soup, e.g. Kristeva's abjection: breakdown between subject and object - the goo and strata of flesh and bone, and the machinic body ejaculating foam at the mouth, Hiorns wild material divergence always expressed in dualities, steel and perfume, machine and foam, boy and fire, boy and gratuitously hulking aircraft engine, the bodily soft always set against its cold hard master, rigid and pliance, occasionally providing a mild erosion of that order, a strange and insistent fetish that we all seem to enjoy.
See too: Henrik Olesen at Reena Spaulings, Erwin Wurm at Kunstmuseum Wolfsburg, Cathy Wilkes at Kunstmuseum Linz, Valerie Snobeck at Essex Street, Andro Wekua at Sprüth Magers
