Source Colossal
How do we distinguish between the artificial and the real? And perhaps more importantly, why should we? Genesis Belanger makes the tension and anxiety that arise from these questions tangible as she lures viewers into an unsettling world.
Known for her ceramic works depicting an uncanny vision of domestic life, Belanger often teases out the dynamic relationships between discomfort, consumption, and capitalism. New pieces like “Dreams of the Luddite” nod to our collective malaise over the ubiquity of technology, portraying a nostalgic world just out of reach. “Care-taken” captures a similarly contemporary dilemma, as it presents a bathroom cabinet with medicines of mixed proportions and the recommended apple-a-day left to rot on the shelf.
“Dreams of the Luddite” (2026), stoneware, porcelain, fiberglass, heat-shrink rubber over steel, structural epoxy, 5 x 18 x 16 3/4 inches. Photo by Pauline Shapiro
While much of Belanger’s work draws from the home, a new project ventures outdoors. In City Hall Park in Manhattan, a collection of large-scale works brings the artist’s social critiques into the commons. Commissioned by Public Art Fund, Heads or Tails features a trio of scenes that reflect on this moment of change and whether its outcome is really determined by chance.
A flock of pastel-hued concrete birds plays in a fountain, while potted plants on dollies appear to be dropped in the park mid-move. This strange intersection of the real and the artificial transforms seemingly mundane and innocuous objects into unsettling visages.
Two cast-bronze figures also flank the fountain and reinterpret the image of Lady Justice, an allegorical persona who carries scales and wears a blindfold as a signal of her impartiality in judicial matters. Belanger’s iterations instead feature one figure holding up a mirror with a sculptural visage peering back at her, while the other presents her hands at different heights. “I’m interested in creating work that reflects the contradictions we navigate every day, where life can be both exhilarating and devastating at the same time,” Belanger says in a statement. “These experiences are not in opposition, but instead they coexist. My work seeks to reflect a nuanced picture of our present.”
If you’re in New York, stop by Perrotin to see Belanger’s work in the group exhibition Touch Grass through the end of the month. Heads or Tails will be on view through November 15. Explore more of the artist’s work on Instagram.
Detail of “Lady Justice Unbiased.” Photo by Nicholas Knight, courtesy of Public Art Fund, New York
Detail of “Lady Justice Unbiased.” Photo by Nicholas Knight, courtesy of Public Art Fund, New York
“Distressed Assets” (2026), pigmented cast concrete with stainless steel legs and armature. Photo by Nicholas Knight, courtesy of Public Art Fund, New York
“Lady Justice Impartial” (2026), cast patinated bronze. Photo by Nicholas Knight, courtesy of Public Art Fund, New York
“Reduction in Force” (2026), stoneware, porcelain, fiberglass, painted steel, structural epoxy, 41 x 28 x 7 inches. Photo by Pauline Shapiro
Detail of “Eclipse.” Photo by Nicholas Knight, courtesy of Public Art Fund, New York
“Care-taken” (2025), porcelain, plywood, wood veneer, linoleum, 25 x 19 x 2 inches. Photo by Guillaume Ziccarelli
“Distressed Assets” (2026), pigmented cast concrete with stainless steel legs and armature. Photo by Nicholas Knight, courtesy of Public Art Fund, New York
Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $7 per month. The article The Era of Contradiction Materializes in Genesis Belanger’s Uncanny Sculptures appeared first on Colossal.