Julie Mia’s interdisciplinary practice, encompassing sculpture, painting, photography, and installation, unfolds over extended periods and is rooted in transformation and translation: from analog to digital, object to image, functional to symbolic, concrete to abstract. Her work often begins with everyday materials (utilitarian objects, text fragments, codes, or screenshots) that are subjected to deliberate alteration and recontextualization. Through this process, their original utility and semantic clarity are stripped away. A knife cast in sand, a spoon shaped from wax. Objects defined by function become speculative forms, resistant to classification and open to poetic interpretation. Rather than reproducing or representing, Mia’s work embraces a continuous state of becoming: images are layered, erased, repainted, and reconfigured in gestures that resist finality. Her evolving visual language reflects ambiguity, temporality, and the aesthetics of transformation. Sculpturally, Mia draws on a broad range of techniques – from bronze and wax casting to 3D printing with sand, resin, and PETG. Her participation in the 3rd International Sculpture Symposium in May marked a new development in her practice, as she began working with steel, not merely as a material, but as a conceptual agent within her process of translation. Of particular interest are the raw, untreated qualities of steel, which foreground questions of resistance, transformation, and permanence. The myth of Sisyphus, as interpreted by Albert Camus, offers a compelling conceptual framework for Mia’s practice. Camus describes the absurd as the tension between the human search for meaning and the inherent meaninglessness of the world. Mia’s repeated gestures and material translations mirror this condition. Her engagement with the Sisyphean figure oscillates between defiant persistence and existential futility, forming a poetic paradox that animates much of her recent work.

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Opening: friday, June 27th, 6 pm