Anders Krisár’s work, often focuses on the human body. His sculptures often features or makes reference to the human form, exhibiting a preoccupation with formal rigor and abstraction. Using this exacting approach, he employs precision of form to create intensely personal, psychological landscapes. Krisár’s sculptures – immaculately produced, and often bear a deliberate blemish that is itself impeccably rendered – are discomfiting, objects of simultaneous horror and beauty. In his latest works, shown for the first time, Krisár has been working with a new material: carrara marble.

Krisár’s work also attests to a fundamental irreversibility. From the Big Bang to meteoric collisions to the oceanic metamorphic pressures forming the marble quarries of Italy, all of these processes are immutable. Likewise, extruding the block of marble and carving out facial features are equally irreversible procedures (they could be destroyed, but this would not undo their having been made).

Like photography, like birth, there is no going back (as they say, it is all carved in stone, which should now resonate in a doubled sense). So what makes us possible is irrevocable and necessary.