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cross species connections

Fanni Somogyi


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cross species connections

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I’m drawn to metals due to their relation to industry, and their oxymoronic ability to be simultaneously durable and malleable. In “cross species connections” I have combined a bronze cast gourd and fabricated steel legs to create a hypothetical creature that is both vegetable and insect. Casting is a process of care and transformation, as the object blooms from an original into a replica. I see a parallel between this act of protection and labor and an act of care that is also necessary for the nourishment of natural areas, our bodies and our ecosystems. I’m fascinated by gourd because of their strange growths and sculptural qualities. Using figurative imagery of insects, human, and plant elements, I fabricate narratives of different futures and worlds, bringing into perspective our own earthly existence.

20"H × 14"W × 13"D
Bronze, steel, flocking
Keep out of humid environments. Do not store outside. Dust with a dry rag and do not use water or any solvents to clean the surfaces.


As an interdisciplinary sculptor, themes that I explore in my work are cross pollinations, hybrid creatures and speculative scenarios. Through biomorphic metal and plant assemblages, primarily I investigate interspecies connections to understand how I affect non-human beings and the ecosystem, and my embedded connection within the lived environment. I’m fascinated by entities such as slime mold or cyborgs and how these collaged bodies act as speculative thought exercises. Sculpture has been the format of my choice because I enjoy building in three dimensions and incorporating multiple materials and textures. I have increasingly become obsessed with a high level of finish that is possible through patience, technique and care. To build these objects I predominantly use steel and aluminum, and I combine these vessels with cast polyurethane elements and cacti, mosses, and micro greens. I enjoy the contrasting interaction of these materials, and after the work is finished it becomes an object that I continue to care for. I’m drawn to metals due to their relation to industry, and their oxymoronic ability to be simultaneously durable and malleable. Be it singular objects like “euphoric glitch” or installations like “Day-dreaming for Another World”, my uncanny assemblages are vessels for stories and metaphors of connections. I imagine a world where the connection of bodies to land becomes more tangible. My eerie and unearthly sculptures provide paths for the viewer to travel beyond the work into hypothetical and imagined landscapes.

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