In the sculptural works of Iris Musolf (b. 1980) the smooth surfaces of a commonplace product
aesthetic meet the strange and the unspeakable that is often concealed beneath. Her artistic
reconfiguration of materiality and form creates visual ambiguities that highlight the true
fragility of our society. Musolf's first monograph 39th of May brings together objects and
sculptures that seem like the symbolic props of a vacuous society obsessed with pleasure in
which sexuality and violence appear as infantilized consumer goods in the guise of
dolphin-shaped vibrators and inflatable Kalashnikovs. Freedom and coercion are interwoven in a
commercially driven context and human emotions primarily emerge in the form of great
confusion.
