Structure

Those who are not yet familiar with the work of Clarina Bezzola may find it a somewhat eerie coincidence that she had planned an exhibition titled Structure, featuring her performance of an intensely moving operatic Lamentation. Those who know the artist and her work, however, will recognize that after the tragedy of September 11, the world is perhaps better equipped to confront the sensitivity her work evokes. Ms. Bezzola has known all along that the profound beauty of human frailty is trapped – for security purposes – within structures designed to provide support and protection. Her sculptures represent the pervasive nature and surreal illusion of these constructions – the psychological, interpersonal and architectural support systems we create in efforts to ensure safe contact with the world around us, and the inherent humanity and futility of these efforts.

The formal evolution of Clarina's work represents a timely insight into the restructuring process we now face, offering her art as a form of survival gear: prosthetic garments designed to provide protection and comfort in the wilderness of shattered illusion. She has removed the steel and glass casings and opposing, painfully interdependent twin forms of her earlier work to create wearable objects which allude to a more detached self-reliance and the physical and mental structures within us. For her show Skin last year she produced an edition of airline eyemasks, "relaxing shades to help screen out reality", an almost ominous accessory for those of us who cannot accept what our eyes have seen. In contrast, the new works allow the wearer freedom and mobility even when they express cumbersome pain and sadness. Distance Belt and Tooth Vest, which both attach large teeth to the wearer's torso, demonstrate an aggressive approach which reveals underlying vulnerability. Fence, a plush corduroy personal barricade, includes rocks which bruise the shins. Luggage, a strap-on carpet bag of drooping leather-tipped appendages, features a headgear which enhances yet supports the weightiness of personal baggage.

A trained singer, Bezzola has created an operatic vocal piece which she will perform while wearing her most ambitious piece to date. Both elements are titled Lamentation. Dressed in a plush upholstered shell with dragging breasts of raw meat, she struggles to pull the furry roller clamped to her appendages with chrome hardware and hoses, while mournfully wailing her lament. Through her singing, she beautifully portays the uplifting structure of even the saddest music, and her voice reveals the internal strength of humanity to endure and express.


	Structure Clarina Bezzola Cynthia Broan Gallery, New York September 20- October 20, 2001 Opening Reception Thursday, Sept. 20, 7-10pm Performances of Lamentation: 8pm Thursdays Sept 20, Oct 4, and Oct.18
	Those who are not yet familiar with the work of Clarina Bezzola may find it a somewhat eerie coincidence that she had planned an exhibition titled Structure, featuring her performance of an intensely moving operatic Lamentation. Those who know the artist and her work, however, will recognize that after the tragedy of September 11, the world is perhaps better equipped to confront the sensitivity her work evokes. Ms. Bezzola has known all along that the profound beauty of human frailty is trapped – for security purposes – within structures designed to provide support and protection. Her sculptures represent the pervasive nature and surreal illusion of these constructions – the psychological, interpersonal and architectural support systems we create in efforts to ensure safe contact with the world around us, and the inherent humanity and futility of these efforts. The formal evolution of Clarina's work represents a timely insight into the restructuring process we now face, offering her art as a form of survival gear: prosthetic garments designed to provide protection and comfort in the wilderness of shattered illusion. She has removed the steel and glass casings and opposing, painfully interdependent twin forms of her earlier work to create wearable objects which allude to a more detached self-reliance and the physical and mental structures within us. For her show Skin last year she produced an edition of airline eyemasks, "relaxing shades to help screen out reality", an almost ominous accessory for those of us who cannot accept what our eyes have seen. In contrast, the new works allow the wearer freedom and mobility even when they express cumbersome pain and sadness. Distance Belt and Tooth Vest, which both attach large teeth to the wearer's torso, demonstrate an aggressive approach which reveals underlying vulnerability. Fence, a plush corduroy personal barricade, includes rocks which bruise the shins. Luggage, a strap-on carpet bag of drooping leather-tipped appendages, features a headgear which enhances yet supports the weightiness of personal baggage. A trained singer, Bezzola has created an operatic vocal piece which she will perform while wearing her most ambitious piece to date. Both elements are titled Lamentation. Dressed in a plush upholstered shell with dragging breasts of raw meat, she struggles to pull the furry roller clamped to her appendages with chrome hardware and hoses, while mournfully wailing her lament. Through her singing, she beautifully portays the uplifting structure of even the saddest music, and her voice reveals the internal strength of humanity to endure and express.