Alexandre da Cunha has put together a very solid body of work for his first solo exhibit in New York City. His sculptures have been installed with tact at CRG Gallery in Chelsea.
Alexandre da Cunha, Kentucky Pied de Poule, installation view, 2012.
The freestanding and sculptural wall pieces have been primarily constructed from commonplace manufactured objects like beach towels, ironing boards and mop heads. These materials have been selected as components that adhere to a strict formal aesthetic while behaving as concepts that signify social misconceptions. As a Brazilian living in London, Alexandre da Cunha understands that people and places do not adhere to the shortcuts of stereotype.
Alexandre da Cunha, Felt (detail), compressed felt, felt hat, brass fittings, 2012.
Few elements combine to make these new objects but the complexity of the experience is not diminished. Decisions are not simply made in this world. Each concern is met well and imbued with a rigorous weaving of backstory. The hat on the beach is a nipple and it is also felt on the wall.
Alexandre da Cunha, Kentucky Pied de Poule II, mop heads, dye, fittings, 2012.
The multiple meanings to this work are clearly marked by the title of the show. The formal explanation is that “Kentucky” is the company that produces the mop heads, and “Pied de Poule” is French for the black and white Houndstooth pattern. An alternate translation of “Pied de Poule” is foot of the hen. Dependent on the cultural leaning of the viewer and with a slight play on words, one could possibly presume that the title of the show refers to Kentucky Fried Chicken. Of course, this might be another example of just how easy it can be to make the wrong assumption.
Alexandre da Cunha
Kentucky Pied de Poule
23 February – 24 March 2012
Images courtesy of CRG Gallery.