Ariel Wood : “detention; 32.778, -96.816,” 2024, concrete, steel, ceramic, turf
Tatiana Sky: “Bridge,” 2024 cement, steel rod, paper pulp, oil paint, spray paint, sealant, wire lathe
Sculpture School: Concrete at Sweet Pass Sculpture Park, September 7–November 16, 2024
Sculpture School: Concrete, the final exhibition at the Dallas iteration of Sweet Pass Sculpture Park, takes the most ubiquitous material of the modern world — concrete — and opens a dialogue about its historical, cultural, and material complexity. The exhibition is the culmination of Sweet Pass Sculpture School’s 2024 intensive, where selected artists engaged in a rigorous investigation of concrete as a medium and metaphor. Participants in this year’s program were invited to explore the construction of the Dallas-Fort Worth Metroplex and the socio-political histories tied to the material. The artists have responded with an array of works that confront the often-unseen legacies of concrete in shaping our built environments, cultural consciousness, and even racial histories.
Concrete, as noted by writer and participant J. Molina Garcia, has long been intertwined with the narratives of colonization, industrial capitalism, and racial subjugation. Garcia’s curatorial text emphasizes that concrete, especially Portland cement, is not just a neutral, structural material but a deeply politicized one. From its Roman origins to its widespread use in contemporary construction, concrete has often been associated with societal progress, but at a significant human and environmental cost. The tone of the exhibition does not shy away from the darker associations of concrete with displacement, environmental degradation, and racial violence.
Valentina Jager’s My Dream Techno Dome is a standout piece, both visually and sonically. The work combines Portland cement with blue iron oxide and industrial soundscapes recorded at local cement factories. The immersive, looped sound of techno — blasting through outdoor speakers and a subwoofer — underscores the industrial might behind concrete production, linking it to the rhythms of capitalism. The labor-intensive construction of the dome itself, involving a 10-person crew, speaks to the collaborative and physical demands of the material. This piece illustrates how concrete, while inert, is brought to life by human effort, noise, and industry — a reminder of how deeply embedded it is in the modern psyche.
Dalila Sanabria’s Ruka takes a more elemental approach. By integrating materials like rebar, steel, biochar, and wild clay, the work interrogates the relationship between organic and industrial processes. Sanabria’s mixture of natural elements with Portland cement evokes a tension between nature and urbanization, echoing Garcia’s ideas about concrete as both a tool of civilization and a marker of destruction. The work’s solar panel, LED light, and fire pit create an almost post-apocalyptic dwelling — concrete as both shelter and symbol of environmental ruin. Sanabria pushes the boundaries of concrete beyond architecture, reimagining it as a conduit for survival in a dystopian landscape.
Ariel Wood’s detention; 32.778, -96.816 and breadth; 32.766, -96.811 continue the critical conversation, using concrete alongside steel, ceramic, and turf. Wood’s installation works with precise geographic coordinates, grounding the exhibition in Dallas’s local terrain. The intersection of turf with concrete and steel gestures towards the ways concrete shapes not only urban spaces but also nature itself. By embedding the exact coordinates of her works into their titles, Wood draws attention to the particular, often overlooked ways that concrete defines the landscape of Dallas — a city dominated by highways, parking lots, and industrial sprawl.
Tatiana Sky’s Bridge utilizes cement, steel rod, and paper pulp to examine the metaphoric potential of concrete. The bridge — both literal and symbolic — acts as a transitional space, connecting ideas, people, and structures. Sky’s use of paper pulp softens the rigidity of the cement, pointing to the fragility beneath the material’s hardened exterior. The integration of oil paint and spray paint adds a layer of visual complexity, suggesting that concrete can be a canvas for creative and political expression, not just a structural necessity.
In sum, Sculpture School: Concrete challenges viewers to rethink the material that defines so much of the built environment around them. Through a combination of historical analysis, material experimentation, and critical engagement with the politics of urban development, the artists featured in this exhibition uncover the layers of meaning embedded in concrete. The exhibition reminds us that concrete, for all its utilitarian associations, is far from neutral. It is a material that carries with it the weight of history, exploitation, and possibility.
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Samara Golden, “if earth is the brain then where is the body,” installation view
Samara Golden, “if earth is the brain then where is the body,” installation view
Samara Golden: if earth is the brain then where is the body at Nasher Sculpture Center, September 28, 2024 – January 12, 2025
Samara Golden’s latest installation at the Nasher Sculpture Center in Dallas is an immersive, mind-bending experience that distorts space and perception. Curator Catherine Craft describes Golden’s work as “rare and unusual,” aptly capturing the artist’s fascination with creating “impossible spaces.” The installation occupies the entire lower level, transforming the traditional white-cube gallery into a surreal, infinite landscape through the clever use of mirrors, warped plastics, and alternative materials like Thermax insulation.
Visitors ascend a wooden ramp to a viewing station, where they are greeted by a kaleidoscopic visual effect created by mirrors reflecting each other at sharp angles. The ceiling features Golden’s graphic paintings, overlaid with a clear layer of warped plastic, which can be seen by looking downward due to the mirror’s reflection. This manipulation of space invites viewers to deeply engage with the piece, as its infinite reflections offer a disorienting yet captivating experience.
Golden’s work avoids the pitfall of simple, selfie art by offering something more socially interactive — guests are part of the installation, with their figures reflected endlessly, becoming as much a part of the experience as the art itself. This exhibition reconfigures how space is perceived, reinforcing Golden’s reputation for creating environments that challenge viewers’ sense of reality.
The installation is on view this season at the Nasher Sculpture Center, making it a must-see for those intrigued by spatial manipulation and immersive art.
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William Sarradet is the Assistant Editor for Glasstire.
