Anne Ferrer’s new series of colorful cloth sculptures, curated by Edward Rubin, is reminiscent of inflatable, shaped balloons that wink and bob in a kind of rhythmic modern dance. Up-down movements mingle with in-out ‘breathing’, as air slowly and randomly inflates and deflates each work. The seven pieces are composed as a tightly-clustered group. But each work is affixed with an electronic programmer that keeps its individual rhythmic movement activated. The pieces are anchored in a glass-fronted space that faces New York City’s Lexington Avenue and 47th Street, on a busy corner in the heart of mid-town. They impact their surroundings, breaking the boundary between the plate glass-walled gallery and the curious public on the street, who stop to wonder at the eye-catching array of indescribable shapes and forms, like candy confections just out of reach. Seductive and enigmatic, the works are ideal for attracting the attention of a busy crowd in motion. fine arts magazine

The installation is tightly composed to fit into the thirty-foot-long gallery, ballooning to fill the space from top to bottom. The works seem to jostle and sway as if in an effort to gain their own territory, as plant and sea life in the wild might—a natural dance in a struggle to survive. Beauty is rarely tame, but these works are playful rather than threatening. Their buoyant ‘attitude’ and indefinable meanings stir the imagination. They hint at circus tents, inflatable water toys, unusual animals, undersea life, gardens, French striped candy, or yummy pastries. By keeping forms fluid and definitions blurred, Ferrer encourages observers to supply their own personal interpretation. This quality of openness allows viewers to ‘play’ in the garden, as collaborators with the artist.

Ferrer is decidedly Catalan and French. At an early age, without television or much else to occupy her at home, she learned to sew, a skill that has become an intrinsic part of her life and her art. She uses a sewing machine as her brush. First she constructs patterns by cutting fabric in circular shapes, which she then pieces into larger structures that ultimately comprise the final sculptures. The stitches and seams define her forms in an organic manner; she sometimes abandons the pattern to create unexpected configurations. The artist also designs her own fashions in which the shapes from her works migrate to her personal attire.

Warm colors, especially red and orange, exude a dominant aura. Known to signal danger or desire, here the colors are enveloping and welcoming. The sensuality and lushness of the satin and silk surfaces are especially alluring. They caress the eyes, hinting at satin quilts or bed-covers, whereas the rip-stop or raincoat fabric provides a more sporty or utilitarian subtext. The pieces in which white stripes alleviate the red resemble quasi-banners or flags. These items are often associated with personal, family or national identity, disclosing clues to the deeper meaning of the works. The stripes interact to make unusual patterns that stream and flicker through the seven works, uniting the entire compilation. Solid colors are interpenetrated with harmonious variations in hue, just as forms in paintings are often softened and varied. Painting plays a large role in this work; color is not often associated with sculpture as a genre. Ferrer’s pieces are the antithesis of traditional sculpture; they are light and airy, not heavy or massive. The entire show can be transported in one suitcase! This is an exceptionally ‘green’ or environmentally friendly approach to art-making.

In her semi-intuitive process, Ferrer makes patterns, but also deviates from them to construct improvised shapes that evoke unexpected emotions. The works assume a life of their own; their size alone removes them from the orbit of easy apprehension, or clear definitions. Viewers must grapple with mystery and uncertainty as they ask themselves what exactly they are seeing. Like a parade, the installation is lively, active and lush. The tone is determinedly optimistic. These soft sculptures succeed in engaging the senses and the imagination. They are not meant to be pondered but to be enjoyed, and would be huggable if they were not so airy and light. The meaning of the installation is found in its interrelationships, not in individual works. Animals, gardens, candies, tents, kites, inflatable water toys, flags and balloons all have a portion of the multi-meaningful ménage. The organic shapes, warm harmonious hues, and rhythmic organization interact, infused with vivid joyous fun. Los Angeles composer Carol Worthey’s delicate sensitive music accompanies the display; it can be heard as one views the installation from the street.

By Mary Hrbacek, Contributing Writer

At, The LAB [for installation+ performance art], Roger Smith Hotel, New York City, May 13 – June 3, 2011

www.thelabgallery.com