Mircea Cantor, Rosace, 2018

Cantor utilizes existing household items and expands his ongoing interest in the semantic dimensions and symbolism of mundane materials. In Rosace, Cantor delineates a rose window using soda can ashtrays that he purchased from Romanian street vendors in Paris. The diversity of these pieces is typical of Cantor’s practice as he shifts between processes, from drawing to sculpture, from film to inverted codes. The artist’s trademark ambiguity is ever present lest we forget that immigration, national identity, and wealth are pressing issues worldwide. These works highlight the disintegration of borders, the successes and failings of globalization, a world with a sky that is indeed variable to many of its inhabitants. Cantor questions what is penetrable: a nation, an identity, or meaning?
Rosace, 2007 - 2018
Cantor utilizes existing household items and expands his ongoing interest in the semantic dimensions and symbolism of mundane materials. In ‘Rosace’, Cantor delineates a rose window using soda can ashtrays that he purchased from Romanian street vendors in Paris.
The diversity of these pieces is typical of Cantor’s practice as he shifts between processes, from drawing to sculpture, from film to inverted codes. The artist’s trademark ambiguity is ever present lest we forget that immigration, national identity, and wealth are pressing issues worldwide. These works highlight the disintegration of borders, the successes and failings ofglobalization, a world with a sky that is indeed variable to many of its inhabitants. Cantor questions what is penetrable: a nation, an identity, or meaning?

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Mircea Cantor

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Mircea Cantor

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