New Yorker Agathe Snow’s approach to art is more a way of life than a studio practice, informed by personal circumstance, travel, current events, counter-culture, and a drive to engage with and stamp her imprint on the world at large. Often using objects she’s found on the street her sculptures reconfigure the detritus of everyday life as deliriously apocalyptic monuments of societal breakdown. In Three (Cross With Balloons), Snow’s crucified effigy towers with effete comic horror. Mounted in mud, wrapped in cling film, and bound with a noose, her suburban victim is adorned, adulated and ridiculed with party hat and balloons, a pair of Converse All- Stars dangling from its death rood like a public notice of crime committed.

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