Artist Portfolio 004
Pink Pluses
ADRIANA WYNNE IS A FRENCH-AMERICAN SCULPTOR BASED IN LONDON WHOSE WORK UNRAVELS THROUGH INSTINCT, EXPERIMENTATION, AND AN EMBRACE OF THE UNKNOWN. A GRADUATE OF THE ROYAL COLLEGE OF ART (MA SCULPTURE, 2023) AND PARSONS SCHOOL OF DESIGN (BFA, 2020), WYNNE BUILDS HER PIECES IN FRAGMENTS—ASSEMBLING, ADJUSTING, AND RESHAPING UNTIL THE SCULPTURE BEGINS TO REVEAL ITSELF. HER PROCESS RESISTS RIGIDITY; INSTEAD, IT HONORS INTUITION AND PLAY, OFTEN LEAVING ROOM FOR CHANGE EVEN AFTER A PIECE IS “FINISHED.” THE RESULT IS A BODY OF WORK THAT FEELS ALIVE—FLUID IN FORM, OPEN IN MEANING, AND DEEPLY CONNECTED TO BODILY MEMORY AND EMOTIONAL RESONANCE.
HER KINETIC SCULPTURE PINK PLUSES (2023) EXEMPLIFIES THIS ETHOS. COMPOSED OF METAL, WAX, LATEX, AND OTHER HYBRID MATERIALS, THE PIECE BREATHES WITH MECHANICAL RHYTHM—AN INTERNAL MOTOR LIFTS AND LOWERS A CENTRAL PLATE, MIMICKING THE RISE AND FALL OF BREATH. AT ONCE SOFT AND INDUSTRIAL, THE SCULPTURE EXPLORES WEIGHT, REPETITION, AND THE SUBTLETIES OF TENSION HELD WITHIN THE BODY.
AT SPOTZ, WE’RE THRILLED TO HIGHLIGHT WYNNE’S EVOLVING PORTFOLIO AS PART OF OUR ONGOING COMMITMENT TO SUPPORTING ARTISTS WHO CHALLENGE TRADITIONAL MODES OF MAKING. HER WORK SPEAKS TO A GENERATION OF CREATORS UNAFRAID TO LEAN INTO PROCESS OVER PRODUCT, TO HOLD COMPLEXITY WITHOUT RESOLUTION, AND TO INVITE VIEWERS INTO THE VULNERABILITY OF BECOMING. IN WYNNE’S HANDS, SCULPTURE ISN’T A FIXED OBJECT—IT’S A LIVING QUESTION.
5 7/8 x 8 1/4”
110lb Cover Satin Paper
Matte laminate
100lb text uncoated inside pages
20 sides
Printed and bound in the USA
Edition of 200
Artist Portfolio 004
Pink Pluses
ADRIANA WYNNE IS A FRENCH-AMERICAN SCULPTOR BASED IN LONDON WHOSE WORK UNRAVELS THROUGH INSTINCT, EXPERIMENTATION, AND AN EMBRACE OF THE UNKNOWN. A GRADUATE OF THE ROYAL COLLEGE OF ART (MA SCULPTURE, 2023) AND PARSONS SCHOOL OF DESIGN (BFA, 2020), WYNNE BUILDS HER PIECES IN FRAGMENTS—ASSEMBLING, ADJUSTING, AND RESHAPING UNTIL THE SCULPTURE BEGINS TO REVEAL ITSELF. HER PROCESS RESISTS RIGIDITY; INSTEAD, IT HONORS INTUITION AND PLAY, OFTEN LEAVING ROOM FOR CHANGE EVEN AFTER A PIECE IS “FINISHED.” THE RESULT IS A BODY OF WORK THAT FEELS ALIVE—FLUID IN FORM, OPEN IN MEANING, AND DEEPLY CONNECTED TO BODILY MEMORY AND EMOTIONAL RESONANCE.
HER KINETIC SCULPTURE PINK PLUSES (2023) EXEMPLIFIES THIS ETHOS. COMPOSED OF METAL, WAX, LATEX, AND OTHER HYBRID MATERIALS, THE PIECE BREATHES WITH MECHANICAL RHYTHM—AN INTERNAL MOTOR LIFTS AND LOWERS A CENTRAL PLATE, MIMICKING THE RISE AND FALL OF BREATH. AT ONCE SOFT AND INDUSTRIAL, THE SCULPTURE EXPLORES WEIGHT, REPETITION, AND THE SUBTLETIES OF TENSION HELD WITHIN THE BODY.
AT SPOTZ, WE’RE THRILLED TO HIGHLIGHT WYNNE’S EVOLVING PORTFOLIO AS PART OF OUR ONGOING COMMITMENT TO SUPPORTING ARTISTS WHO CHALLENGE TRADITIONAL MODES OF MAKING. HER WORK SPEAKS TO A GENERATION OF CREATORS UNAFRAID TO LEAN INTO PROCESS OVER PRODUCT, TO HOLD COMPLEXITY WITHOUT RESOLUTION, AND TO INVITE VIEWERS INTO THE VULNERABILITY OF BECOMING. IN WYNNE’S HANDS, SCULPTURE ISN’T A FIXED OBJECT—IT’S A LIVING QUESTION.
5 7/8 x 8 1/4”
110lb Cover Satin Paper
Matte laminate
100lb text uncoated inside pages
20 sides
Printed and bound in the USA
Edition of 200