Rebecca Warren- Come Helga, This Is No Place For Us II

The intimacy of the commercial Maureen Paley gallery allows close observation of Rebecca Warren's striking sculptures, and following the movement and 'energy' of Rist's Eyeball massage it was an altogether different experience, most notably still and quiet!

Her manipulation of bronze in "The Dane" and "There is no other way" gives these 3m tall figurative pieces a precarious and tactile look. Their bobbled, twisted, worked textural forms make reference to Giacometti's bronze works. Being somewhat loosely based on the human form these pieces allow individual interpretation- I'd say every viewer can see a different form within their abstraction and the more I looked at the pieces the more figures I could see. Warren's use of a muted colour pallette and limited pattern only add to this interest and obscurity.

Looking through the single gallery space beyond the bobbled edge of these columns the bulging smooth shapes of "The Potter" and "National Geographic" can be seen. I liked the stark contrast in edges between these pieces. The clay 'bottom like' sculptures are situated on wooden plinths. I particularly enjoyed The Potter, aptly named as it appeared to be more about the process of creation than the bulging, slightly overhanging bum form that emerged. Being left on the wooden boards it was presumably made on to me emphasised the labourious, tactile work and moulding that went into it's creation.

I also enjoyed the humour in "Melancholie", literally as you walked into the space a small pompom on a steel table greeted you, the piece makes me smile just thinking of it. To me the hardness of the steel and the soft amusement and nostalgic nature of the small pompom are important, and make me consider the sense of feeling further, and our reaction to objects.

I really enjoyed the pieces, however the show as a whole had a very different feel to the Rist exhibition, and was a little difficult to take in/ interpret following on from it....