Swedish artist Adrian-Alicia Bisell Gonzalez (b. 1998) works with an attentiveness to fragility - how bodies orient themselves toward desire, how gravity renders us subjects to the world, and how every step, for this very reason, requires resistance. Working primarily with sculpture and installation, they investigate the boundaries between bodies and the interior spaces their works move through. Installation becomes a way of claiming space: a familiar hierarchy is challenged - as the work enters the space to pierce through, alter, or even destroy the architecture it resides in. Rather than the body adapting to architecture, these gestures challenge the limits imposed by space, questioning where bodies and objects begin and end, how they extend outward, and how they direct the viewer’s gaze.
Their steel sculptures loom and intrude, growing from ideas of invasiveness and adaptation. Their jointed, movable limbs continue to sway after contact, suggesting a life shaped by its surroundings. Referencing invasive species - organisms often displaced by human intervention and later expelled for threatening ecological balance - the sculptures occupy corners and peak atop walls, as if they have learned the architecture’s weaknesses. Shaping, here, is understood as a process of destruction and reconstruction: dismantling the world through sculpture and reassembling it from within, allowing objects to assert presence, vulnerability, and resistance in equal measure.