Installation view of the exhibition Andra Ursuța: Joy Revision at David Zwirner London, 2022

Andra Ursuţa: Joy Revision

David Zwirner is pleased to announce Joy Revision, an exhibition of work by Andra Ursuţa (b. 1979). This will be the Romanian-born, New York–based artist’s second solo presentation with the gallery. The exhibition will debut new photograms and lead-crystal sculptures that stem from a premodern conception of art as an essential tool to deal with mortality, loss, and grief. 

 

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Image: Installation view, Andra Ursuţa: Joy Revision, David Zwirner, London, 2022


Dates
September 22October 29, 2022
Opening Reception
Thursday, September 22, 6-8pm
Gallery Hours
Tues—Sat 10am–6pm
Artist
A mixed media artwork by Andra Ursuţa, titled Aural Prolapse, 2021 to 2022.

Andra Ursuţa

Aural Prolapse, 2021-2022
Photoreactive dye on velvet
63 1/4 x 52 inches (160.7 x 132.1 cm)
Framed: 66 3/8 x 55 1/4 inches (168.6 x 140.3 cm)

“[The Photograms] come after a few years in which, from Hilma af Klint to Emma Kunz to Agnes Pelton, we have seen a new history of modernism and a new history of abstraction that has finally recognized the ways in which philosophical thinking or mystical thinking actually had an impact on abstraction, and I think Andra is sort of latching on to that history.”

—Massimiliano Gioni, Artistic Director, The New Museum of Contemporary Art, 2021

Installation view of the exhibition Andra Ursuța: Joy Revision at David Zwirner London, 2022

Installation view, Andra Ursuţa: Joy Revision, David Zwirner, London, 2022

Installation view, Andra Ursuţa: Joy Revision, David Zwirner, London, 2022

A painting by Francis Bacon titled Figure with Meat, dated 1954.

Historical reference for the artist’s new series of photograms: Francis Bacon, Figure with Meat, 1954. © 2016 Estate of Francis Bacon/Artists Rights Society (ARS), New York/DACS, London

Historical reference for the artist’s new series of photograms: Francis Bacon, Figure with Meat, 1954. © 2016 Estate of Francis Bacon/Artists Rights Society (ARS), New York/DACS, London

This exhibition debuts new photograms and lead crystal sculptures that stem from a premodern conception of art as an essential tool to deal with mortality, loss, and grief. In London, the artist connects the urgency of existential questions probed by art with an art-historical investigation of image-making. 

A mixed media artwork by Andra Ursuţa, titled Doom Fingering, 2021 to 2022.

Andra Ursuţa

Doom Fingering, 2021-2022
Photoreactive dye on velvet
63 1/4 x 52 inches (160.7 x 132.1 cm)
Framed: 66 1/2 x 55 3/8 inches (168.9 x 140.7 cm)
Installation view of the exhibition Andra Ursuța: Joy Revision at David Zwirner London, 2022

Installation view, Andra Ursuţa: Joy Revision, David Zwirner, London, 2022

Installation view, Andra Ursuţa: Joy Revision, David Zwirner, London, 2022

A sculpture by Andra Ursuta, titled Habit Hole, dated 2022.

Andra Ursuţa

Habit Hole, 2022
Lead crystal
40 x 17 x 25 inches (101.6 x 43.2 x 63.5 cm)
A mixed media artwork by Andra Ursuţa, titled Eames Chair 1, dated 2021.

Andra Ursuţa

Eames Chair 1, 2021
Photoreactive dye on velvet
71 1/8 x 51 inches (180.7 x 129.5 cm)
Framed: 74 1/4 x 54 1/4 inches (188.6 x 137.8 cm)
A mixed media artwork by Andra Ursuţa, titled Nocturnal Omission 2, 2021 to 2022.

Andra Ursuţa

Nocturnal Omission 2, 2021-2022
Photoreactive dye on velvet
90 1/4 x 50 1/8 inches (229.2 x 127.3 cm)
Framed: 93 3/8 x 53 3/8 inches (237.2 x 135.6 cm)
A detail of a work by Andra Ursuţa, titled Eames Chair 1, dated 2021-2022.

Andra Ursuţa, Eames Chair 1, 2021 (detail)

Andra Ursuţa, Eames Chair 1, 2021 (detail)

A detail of a work by Andra Ursuţa, titled Nocturnal Omission 2, dated 2021-2022.

Andra Ursuţa, Nocturnal Omission 2, 2021-2022 (detail)

Andra Ursuţa, Nocturnal Omission 2, 2021-2022 (detail)

A sculpture by Andra Ursuta, titled Grand Obélisque, dated 2022.

Andra Ursuţa

Grand Obélisque, 2022
Lead crystal
30 1/2 x 19 x 14 inches (77.5 x 48.3 x 35.6 cm)
A sculpture by Andra Ursuta, titled Grande Odalisque, dated 2022.

Andra Ursuţa

Grande Odalisque, 2022
Lead crystal
25 x 21 x 18 inches (63.5 x 53.3 x 45.7 cm)
Installation view of the exhibition Andra Ursuța: Joy Revision at David Zwirner London, 2022

Installation view, Andra Ursuţa: Joy Revision, David Zwirner, London, 2022

Installation view, Andra Ursuţa: Joy Revision, David Zwirner, London, 2022

A sculpture by Andra Ursuta, titled Misintegration, dated 2022.

Andra Ursuţa

Misintegration, 2022
Lead crystal
33 1/2 x 18 1/2 x 27 inches (85.1 x 47 x 68.6 cm)

“To create her figures, Ursuţa combines the traditional technique of lost wax casting with 3D scanning and printing. As such, much like the hybridised bodies characteristic of her greater practice, her sculptures are forged through an intensive process of physical transformation.“

—Madeline Weisburg, Biennale Arte 2022: The Milk of Dreams, 2022

A Roman marble sculpture titled Torso of Hercules seated on a rock, dated 1st-2nd century AD.

Historical reference for the artist’s Misintegration: Torso of Hercules seated on a rock, 1st-2nd century AD, Roman marble sculpture. Courtesy The Metropolitan Museum of Art, New York

Historical reference for the artist’s Misintegration: Torso of Hercules seated on a rock, 1st-2nd century AD, Roman marble sculpture. Courtesy The Metropolitan Museum of Art, New York

A sculpture by TR. W. Martin and Brothers, titled Jar in the form of a bird, 1888.

Historical reference for the artist’s Habit Hole: TR. W. Martin and Brothers, Jar in the form of a bird, 1888. Courtesy The Metropolitan Museum of Art, New York

Historical reference for the artist’s Habit Hole: TR. W. Martin and Brothers, Jar in the form of a bird, 1888. Courtesy The Metropolitan Museum of Art, New York

Installation view from The Galleries for British Decorative Arts and Design at The Metropolitan Museum of Art, New York.

Historical reference for the artist’s Habit Hole: Installation view, The Galleries for British Decorative Arts and Design, The Metropolitan Museum of Art, New York. Photo: Xinhua/Wang Ying

Historical reference for the artist’s Habit Hole: Installation view, The Galleries for British Decorative Arts and Design, The Metropolitan Museum of Art, New York. Photo: Xinhua/Wang Ying

Installation view of Andra Ursuţa: Whites, at Kunsthalle Basel, 2015–2016

Reference for the artist’s Grand Obélisque: Installation view, Andra Ursuţa: Whites, Kunsthalle Basel, 2015–2016

Reference for the artist’s Grand Obélisque: Installation view, Andra Ursuţa: Whites, Kunsthalle Basel, 2015–2016

Installation view of Andra Ursuţa: Whites, at Kunsthalle Basel, 2015–2016

Reference for the artist’s Grand Obélisque: Installation view, Andra Ursuţa: Whites, Kunsthalle Basel, 2015–2016

Reference for the artist’s Grand Obélisque: Installation view, Andra Ursuţa: Whites, Kunsthalle Basel, 2015–2016

A mixed media artwork by Andra Ursuţa, called Floating Head 1, dated 2021.

Andra Ursuţa

Floating Head 1, 2021
Photoreactive dye on velvet
54 1/8 x 46 1/4 inches (137.5 x 117.5 cm)
Framed: 57 3/8 x 49 3/8 inches (145.7 x 125.4 cm)

Ursuţa’s photograms, a recurring aspect of her practice, engage with the history and technology of photography since the medium’s inception in the 1820s. As early as the 1850s, ‘ghost photography’ rendered pictures that purported to capture the unseen and conjure uncanny presences, suggesting that the living could commune with the deceased. 

A publicity photography for Henri Robin by Eugène Thiébault, dated 1863

Historical reference for the artist’s new series of photograms: Eugène Thiébault, Publicity photography for Henri Robin, 1863

Historical reference for the artist’s new series of photograms: Eugène Thiébault, Publicity photography for Henri Robin, 1863

A photo depicting the ghost of a man's wife appearing before him, ca.1870

Historical reference for the artist’s new series of photograms: The ghost of a man's wife appears before him, ca.1870

Historical reference for the artist’s new series of photograms: The ghost of a man's wife appears before him, ca.1870

A detail of a photograph by Mike Kelley, titled Ectoplasm Photographs, dated 1978

Historical reference for the artist’s new series of photograms: Mike Kelley, Ectoplasm Photographs, 1978/2009. © Mike Kelley

Historical reference for the artist’s new series of photograms: Mike Kelley, Ectoplasm Photographs, 1978/2009. © Mike Kelley

“Ursuţa's explorations of technique and material,  pain and discomfort don't overshadow her artistic strengths. She can draw, sculpt, and otherwise craft images and objects that are poetic, beautiful, captivating, and hypnotic, as demonstrated by a series of photograms on velvet.”

—Ali Subotnik, Andra Ursuţa: 2000 Words, DESTE Foundation for Contemporary Art, 2018

A mixed media artwork by Andra Ursuţa, titled Nocturnal Omission 3, 2021 to 2022.

Andra Ursuţa

Nocturnal Omission 3, 2021-2022
Photoreactive dye on velvet
91 1/8 x 50 1/4 inches (231.5 x 127.6 cm)
Framed: 94 1/2 x 53 3/8 inches (240 x 135.6 cm)
A mixed media artwork by Andra Ursuţa, titled Kartell Eros Chair, 2021 to 2022.

Andra Ursuţa

Kartell Eros Chair, 2021-2022
Photoreactive dye on velvet
63 1/4 x 52 1/4 inches (160.7 x 132.7 cm)
Framed: 66 3/8 x 55 3/8 inches (168.6 x 140.7 cm)
A detail of a work by Andra Ursuţa, titled Kartell Eros Chair, dated 2021-2022.

Andra Ursuţa, Kartell Eros Chair, 2021-2022 (detail)

Andra Ursuţa, Kartell Eros Chair, 2021-2022 (detail)

A work by Hans Holbein the Younger, titled The Noblewoman, from The Dance of Death, ca. 1526.

Historical reference for the artist’s new series of photograms: Hans Holbein the Younger, The Noblewoman, from The Dance of Death, ca. 1526. Courtesy The Metropolitan Museum of Art, New York

Historical reference for the artist’s new series of photograms: Hans Holbein the Younger, The Noblewoman, from The Dance of Death, ca. 1526. Courtesy The Metropolitan Museum of Art, New York

Funerary stele of Mnesarete. A young girl (left) is facing the dead woman. Inscription: ΜΝΗΣΑΡΕΤΗ ΣΩΚΡΑΤΟΣ (“Mnesarete [the daughter] of Socrates”). Attica, ca. 380 BC.

Historical reference for the artist’s new series of photograms: Funerary stele of Mnesarete. A young girl (left) is facing the dead woman. Inscription: ΜΝΗΣΑΡΕΤΗ ΣΩΚΡΑΤΟΣ (“Mnesarete [the daughter] of Socrates”). Attica, ca. 380 BC. Courtesy the Glyptothek, Munich

Historical reference for the artist’s new series of photograms: Funerary stele of Mnesarete. A young girl (left) is facing the dead woman. Inscription: ΜΝΗΣΑΡΕΤΗ ΣΩΚΡΑΤΟΣ (“Mnesarete [the daughter] of Socrates”). Attica, ca. 380 BC. Courtesy the Glyptothek, Munich

The new photograms and sculptures in the exhibition also reference long-standing art-historical traditions more broadly, ranging from ancient death masks and funerary monuments to acheiropoieta (‘icons made without hands’) and domestic genre paintings.

Installation view of the exhibition Andra Ursuța: Joy Revision at David Zwirner London, 2022

Installation view, Andra Ursuţa: Joy Revision, David Zwirner, London, 2022

Installation view, Andra Ursuţa: Joy Revision, David Zwirner, London, 2022

By acknowledging the past life of the Mayfair townhouse in which the gallery is located, Ursuţa references (Blinky) Palermo’s wall paintings of the late 1960s, which – alongside the work of his contemporaries such as Daniel Buren, Donald Judd, and Sol LeWitt – introduced alternative methods of determining form into the artistic process.

Palermo’s spontaneous paintings of arbitrary forms, generated by the lines or omissions of the built environment, questioned the precedence of foreground versus background, merging reality and fiction. Similarly, in Joy Revision, the townhouse’s architecture becomes a non-neutral framework that is at once a functional environment and a schematic depiction of it: a projective space onto which apparition-like images are placed.

A photo of Palermo painting a wall at Galerie Heiner Friedrich, Cologne, April 1971.

Palermo painting a wall at Galerie Heiner Friedrich, Cologne, April 1971. Courtesy of Palermo Archive, Thordis Moeller, Millerton, N.Y.

Palermo painting a wall at Galerie Heiner Friedrich, Cologne, April 1971. Courtesy of Palermo Archive, Thordis Moeller, Millerton, N.Y.

A mixed media artwork by Andra Ursuţa, titled Velvet Limbo, 2021 to 2022.

Andra Ursuţa

Velvet Limbo, 2021-2022
Photoreactive dye on velvet
92 1/4 x 48 1/4 inches (234.3 x 122.6 cm)
Framed: 95 1/2 x 51 1/4 inches (242.6 x 130.2 cm)

“I prefer to look at art from different historical periods. The intricacies of decorative work are really interesting to me.... [Historical artifacts] can capture life that is so real, more so than contemporary art.”

—Andra Ursuţa, Zoo Magazine, 2015

A detail of a work by Andra Ursuţa, titled Velvet Limbo Even Closer-up, dated 2021-2022.

Andra Ursuţa, Velvet Limbo Even Closer-up, 2021-2022 (detail)

Andra Ursuţa, Velvet Limbo Even Closer-up, 2021-2022 (detail)

As in much of her practice, Ursuţa’s photograms combine various techniques with an element of chance, resulting in compositions that seem to be occupied by mysterious presences and auras.

Like Man Ray’s ‘rayographs’, Ursuţa’s works are made without a camera or lens, and she joins methods culled from early photographic practices with those from printmaking.

A detail of a work by Man Ray, titled Rayograph, dated 1923.

Historical reference for the artist’s new series of photograms: Man Ray, Rayograph, 1923 (detail). Courtesy The Museum of Modern Art, New York

Historical reference for the artist’s new series of photograms: Man Ray, Rayograph, 1923 (detail). Courtesy The Museum of Modern Art, New York

A mixed media artwork by Andra Ursuţa, titled Velvet Limbo Close-up, 2021 to 2022.

Andra Ursuţa

Velvet Limbo Close-up, 2021-2022
Photoreactive dye on velvet
60 1/4 x 50 1/8 inches (153 x 127.3 cm)
Framed: 63 3/8 x 53 1/4 inches (161 x 135.3 cm)
A mixed media artwork by Andra Ursuţa, called Velvet Limbo Even Closer-up, 2021 to 2022.

Andra Ursuţa

Velvet Limbo Even Closer-up, 2021-2022
Photoreactive dye on velvet
53 1/4 x 46 1/4 inches (135.3 x 117.5 cm)
Framed: 56 1/2 x 49 1/4 inches (143.5 x 125.1 cm)

“The artworks that underwent this process appear to us as impressions, traces, or replicas of what existed for a brief moment in time only, imprinted on some sort of membrane that is both marking a boundary and showing us what remains, once everything else has disappeared.”  

—Bice Curiger, Souffler de son Souffle, Fondation Vincent van Gogh Arles, 2021

A mixed media artwork by Andra Ursuţa, titled Body Stocking Stuffer, 2021 to 2022.

Andra Ursuţa

Body Stocking Stuffer, 2021-2022
Photoreactive dye on velvet
63 1/8 x 52 1/4 inches (160.3 x 132.7 cm)
Framed: 66 3/8 x 55 3/8 inches (168.6 x 140.7 cm)

“Though her subjects are dark or, in some instances, even macabre, Ursuţa’s work never strays into histrionics of gratuitous gore. Nor does it simply traverse bleak landscapes of calamity and defeat. At its heart, her work is a study of vulnerability, resilience, and survival.”

—Natalie Bell, Andra Ursuţa: Alps, The New Museum of Contemporary Art, 2016

Installation view of the exhibition Andra Ursuța: Joy Revision at David Zwirner London, 2022

Installation view, Andra Ursuţa: Joy Revision, David Zwirner, London, 2022

Installation view, Andra Ursuţa: Joy Revision, David Zwirner, London, 2022

Inquire about works by Andra Ursuţa

A mixed media artwork by Andra Ursuţa, titled Uneasy Chair, 2021 to 2022.

Andra Ursuţa

Uneasy Chair, 2021-2022
Photoreactive dye on velvet
63 x 52 inches (160 x 132.1 cm)
Framed: 66 3/8 x 55 1/4 inches (168.6 x 140.3 cm)
A mixed media artwork Andra Ursuţa, titled Erotic Cobwebs, 2021 to 2022.

Andra Ursuţa

Erotic Cobwebs, 2021-2022
Photoreactive dye on velvet
63 1/8 x 52 1/4 inches (160.3 x 132.7 cm)
Framed: 66 3/8 x 55 3/8 inches (168.6 x 140.7 cm)
A mixed media artwork by Andra Ursuţa, titled Body Stocking Stuffer, 2021 to 2022.

Andra Ursuţa

Body Stocking Stuffer, 2021-2022
Photoreactive dye on velvet
63 1/8 x 52 1/4 inches (160.3 x 132.7 cm)
Framed: 66 3/8 x 55 3/8 inches (168.6 x 140.7 cm)
A mixed media artwork by Andra Ursuţa, titled Aural Prolapse, 2021 to 2022.

Andra Ursuţa

Aural Prolapse, 2021-2022
Photoreactive dye on velvet
63 1/4 x 52 inches (160.7 x 132.1 cm)
Framed: 66 3/8 x 55 1/4 inches (168.6 x 140.3 cm)
A mixed media artwork by Andra Ursuţa, titled Doom Fingering, 2021 to 2022.

Andra Ursuţa

Doom Fingering, 2021-2022
Photoreactive dye on velvet
63 1/4 x 52 inches (160.7 x 132.1 cm)
Framed: 66 1/2 x 55 3/8 inches (168.9 x 140.7 cm)
A mixed media artwork by Andra Ursuţa, titled Kartell Eros Chair, 2021 to 2022.

Andra Ursuţa

Kartell Eros Chair, 2021-2022
Photoreactive dye on velvet
63 1/4 x 52 1/4 inches (160.7 x 132.7 cm)
Framed: 66 3/8 x 55 3/8 inches (168.6 x 140.7 cm)
A mixed media artwork by Andra Ursuţa, titled Ruinatrix, 2021 to 2022.

Andra Ursuţa

Ruinatrix, 2021-2022
Photoreactive dye on velvet
63 1/8 x 52 1/4 inches (160.3 x 132.7 cm)
Framed: 66 1/2 x 55 3/8 inches (168.9 x 140.7 cm)
A mixed media artwork by Andra Ursuţa, titled Bone Alone 1, 2021 to 2022.

Andra Ursuţa

Bone Alone 1, 2021-2022
Photoreactive dye on velvet
63 x 52 1/4 inches (160 x 132.7 cm)
Framed: 66 3/8 x 55 1/4 inches (168.6 x 140.3 cm)
A mixed media artwork by Andra Ursuţa, titled Bone Alone 2, 2021 to 2022.

Andra Ursuţa

Bone Alone 2, 2021-2022
Photoreactive dye on velvet
63 1/8 x 51 7/8 inches (160.3 x 131.8 cm)
Framed: 66 3/8 x 55 1/4 inches (168.6 x 140.3 cm)
A sculpture by Andra Ursuta, titled Habit Hole, dated 2022.

Andra Ursuţa

Habit Hole, 2022
Lead crystal
40 x 17 x 25 inches (101.6 x 43.2 x 63.5 cm)
A mixed media artwork by Andra Ursuta, titled Nocturnal Omission, 2021 to 2022.

Andra Ursuţa

Nocturnal Omission, 2021-2022
Photoreactive dye on velvet
92 x 51 inches (233.7 x 129.5 cm)
Framed: 95 3/8 x 54 1/4 (242.4 x 137.9 cm)
A sculpture by Andra Ursuta, titled Grand Obélisque, dated 2022.

Andra Ursuţa

Grand Obélisque, 2022
Lead crystal
30 1/2 x 19 x 14 inches (77.5 x 48.3 x 35.6 cm)
A mixed media artwork by Andra Ursuţa, titled Nocturnal Omission 1, 2021 to 2022.

Andra Ursuţa

Nocturnal Omission 1, 2021-2022
Photoreactive dye on velvet
90 1/2 x 50 1/4 inches (229.9 x 127.6 cm)
Framed: 93 1/2 x 53 3/8 inches (237.5 x 135.6 cm)
A mixed media artwork by Andra Ursuţa, titled Eames Chair 1, dated 2021.

Andra Ursuţa

Eames Chair 1, 2021
Photoreactive dye on velvet
71 1/8 x 51 inches (180.7 x 129.5 cm)
Framed: 74 1/4 x 54 1/4 inches (188.6 x 137.8 cm)
A mixed media artwork by Andra Ursuţa, titled Nocturnal Omission 2, 2021 to 2022.

Andra Ursuţa

Nocturnal Omission 2, 2021-2022
Photoreactive dye on velvet
90 1/4 x 50 1/8 inches (229.2 x 127.3 cm)
Framed: 93 3/8 x 53 3/8 inches (237.2 x 135.6 cm)
A sculpture by Andra Ursuta, titled Grande Odalisque, dated 2022.

Andra Ursuţa

Grande Odalisque, 2022
Lead crystal
25 x 21 x 18 inches (63.5 x 53.3 x 45.7 cm)
A mixed media artwork by Andra Ursuţa, titled Eames Chair 2, dated 2021.

Andra Ursuţa

Eames Chair 2, 2021
Photoreactive dye on velvet
68 x 51 inches (172.7 x 129.5 cm)
Framed: 71 3/8 x 54 1/4 inches (181.3 x 137.8 cm)
A mixed media artwork by Andra Ursuţa, titled Nocturnal Omission 3, 2021 to 2022.

Andra Ursuţa

Nocturnal Omission 3, 2021-2022
Photoreactive dye on velvet
91 1/8 x 50 1/4 inches (231.5 x 127.6 cm)
Framed: 94 1/2 x 53 3/8 inches (240 x 135.6 cm)
A mixed media artwork by Andra Ursuţa, titled Velvet Limbo, 2021 to 2022.

Andra Ursuţa

Velvet Limbo, 2021-2022
Photoreactive dye on velvet
92 1/4 x 48 1/4 inches (234.3 x 122.6 cm)
Framed: 95 1/2 x 51 1/4 inches (242.6 x 130.2 cm)
A mixed media artwork by Andra Ursuţa, titled Velvet Limbo Close-up, 2021 to 2022.

Andra Ursuţa

Velvet Limbo Close-up, 2021-2022
Photoreactive dye on velvet
60 1/4 x 50 1/8 inches (153 x 127.3 cm)
Framed: 63 3/8 x 53 1/4 inches (161 x 135.3 cm)
A mixed media artwork by Andra Ursuţa, called Velvet Limbo Even Closer-up, 2021 to 2022.

Andra Ursuţa

Velvet Limbo Even Closer-up, 2021-2022
Photoreactive dye on velvet
53 1/4 x 46 1/4 inches (135.3 x 117.5 cm)
Framed: 56 1/2 x 49 1/4 inches (143.5 x 125.1 cm)
A sculpture by Andra Ursuta, titled Misintegration, dated 2022.

Andra Ursuţa

Misintegration, 2022
Lead crystal
33 1/2 x 18 1/2 x 27 inches (85.1 x 47 x 68.6 cm)
A mixed media artwork by Andra Ursuţa, dated Floating Head 3, dated 2021.

Andra Ursuţa

Floating Head 3, 2021
Photoreactive dye on velvet
54 1/4 x 46 1/4 inches (137.8 x 117.5 cm)
Framed: 57 1/2 x 49 1/4 inches (146.1 x 125.1 cm)
A mixed media artwork by Andra Ursuţa, called Floating Head 1, dated 2021.

Andra Ursuţa

Floating Head 1, 2021
Photoreactive dye on velvet
54 1/8 x 46 1/4 inches (137.5 x 117.5 cm)
Framed: 57 3/8 x 49 3/8 inches (145.7 x 125.4 cm)
A mixed media artwork by Andra Ursuţa, titled Floating Head 2, dated 2021.

Andra Ursuţa

Floating Head 2, 2021
Photoreactive dye on velvet
54 1/4 x 46 1/8 inches (137.8 x 117.2 cm)
Framed: 57 3/8 x 49 1/4 inches (145.7 x 125.1 cm)
A mixed media artwork by Andra Ursuţa, titled Terminal Fitness, dated 2021.

Andra Ursuţa

Terminal Fitness, 2021
Photoreactive dye on velvet
80 1/4 x 48 1/8 inches (203.8 x 122.2 cm)
Framed: 83 1/2 x 51 1/4 inches (212.1 x 130.2 cm)

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          Joy Revision

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