When artist Mia Westerlund Roosen first showcased her distinctive conical sculptures at the 1982 "25th Anniversary Exhibition of Leo Castelli," she aimed to make a feminist statement. The exhibition, which highlighted a significant era in American art, predominantly featured male artists, positioning Roosen as one of the few women among 29 participants.
Despite her inclusion, sustained recognition eluded her as her work was often overlooked. Reflecting on her experience, Roosen shared that her sculptures were frequently dismissed as "reductive" or "eccentric." What was perceived as deviation was, in reality, a deliberate choice to challenge the prevailing sculptural norms that favored hard edges and emotional detachment.
Over her career, which spans several decades, Roosen has embraced continuous transformation in her artistic practice. In the early 1970s, she shifted from resin to concrete and cement, materials rarely associated with the human form. This transition allowed her to create sculptures that evoke phallic symbols and other anatomical references. Throughout the years, she has incorporated various materials, including steel and copper, exploring how softer elements can interact with more rigid forms. In the 2000s, she began blending cement with resin, a combination that highlighted the tension between organic and industrial aesthetics.
Her latest exhibition, "Then and Now," currently at Nunu Fine Art in New York until February 21, showcases her artistic journey through works spanning from the 1970s to the present. The exhibition provides insight into Roosen's expansive approach to materiality and its connection to human experience.
Upon entering the exhibit, viewers encounter striking pieces like "Heat" and "Conical," both from 1981. These sculptures, which rise dramatically from the ground, assert their presence through their muscular forms. "Heat" reaches nearly 13 feet in height, while "Conical" expands to 5 feet at its widest point. Their surfaces, crafted from concrete and encaustic, exhibit a textured quality that invites tactile engagement.
In addition to her sculptures, Roosen's drawings, such as "Heat 1" and "Heat 3," capture the fluidity of her movements as a trained dancer. These works serve as reflections of her creative process rather than mere preparatory sketches.
One of her smaller pieces, "Sac" (2019), contrasts sharply with her earlier works, showcasing a softer, more introspective quality. Wrapped in flannel and resin, its form evokes fragility rather than aggression, illustrating Roosen's evolving engagement with themes of masculinity.
Throughout her career, Roosen has maintained a commitment to exploring the grotesque, not merely for shock value but as a means to express vulnerability alongside strength. This duality reflects her belief in the beauty of the grotesque.
"Then and Now" marks Roosen's first exhibition with Nunu Fine Art, which aims to introduce her work to new audiences and reinvigorate her presence in the art market. Despite her long-standing career, she feels that attention to her work has waned over the years. Roosen asserts that the issue lies not in her productivity but rather in the art world's perception of her contributions.
As she continues to create large-scale sculptures, Roosen remains focused on the essence of her art rather than market trends. "The materials matter," she emphasizes, highlighting her dedication to pushing the boundaries of what sculpture can convey.
With an unwavering commitment to her craft, Roosen's work invites viewers to engage deeply, celebrating the interplay of time, touch, and care in the creative process.