So’s sculptures are defined by their process of making as much as by their fictional personas. Their scale is limited by what fits in her kiln, and though they look old, the slippery surface of the clay’s moulding gives them a slick modern finish. Ezra bears all the traces of So’s physical handling in his cut geometric layers and casual pock marks; his oversized moustache droops with the frozen weight of wet clay. By sharing her process with the viewer, So reveals her sculptures in a theatrical way, presenting their fantasy as our own willful suspension of belief and desire to participate in their makeshift make-believe.

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