Adam Brent's solo exhibition, "Dog Leg," is currently on view at Freight + Volume

Adam Brent, Donut Hammer, 2023 Carved wooden meat mallet 4h x 6w x 12d in, 10.16h x 15.24w x 30.48d cm. Courtesy of the artist and Freight + Voluume, New York, NY

By RIAD MIAH February 26, 2025

Adam Brent's solo exhibition, "Dog Leg," is currently on view at Freight + Volume. This body of work represents an evolution in the artist's practice, exploring the fluid intersections of material, form, and conceptual depth while incorporating a tongue-in-cheek sense of humor that offsets the rigor of his otherwise intense processes. The exhibition is on view from February 1 through March 1, 2025, at 39 Lispenard Street.

The works in the show exemplify Brent's keen ability to juxtapose the synthetic and the organic, the rigid and the fluid, the mechanical and the natural. The exhibition features sculptures created through 3D printing and the most fundamental traditional sculptural technique: carving. Brent juxtaposes materials and processes by pairing conventional sculptural media with plastic, a relatively new material in the world of fine art. Through his adept balancing of the handmade and the digital, the exhibition presents a visually compelling and intellectually stimulating experience.

 Pancakes, 2021-2022 Carved aluminum 12h x 6w x 6d in, 30.48h x 15.24w x 15.24d cm, Courtesy of the artist and Freight + Voluume, New York, NY
 

The exhibition's title, "Dog Leg," has layered meanings. The expression often refers to an abrupt shift in direction, commonly used in sports like golf or chess. The term dogleg is an unexpected turn in an otherwise logical course. In Brent's work, this theme manifests both conceptually and formally. The sculptures contain transformations and disruptions in materiality: a polished, machined aluminum rod gives way to an ear and a belly button, carrying the tongue-in-cheek title "Selfie."

In contemporary culture, a selfie is often an alter ego, a curated self-presentation. Brent's "Selfie" employs a square format reminiscent of Instagram's image layout. This square holds a dual significance, referencing both the format of the popular app and the language of minimalist artists like Jackie Winsor and Donald Judd, who embraced the shape as a democratic and neutral form. Brent's features are meticulously carved into the otherwise cold and sterile material, embedding the artist's identity within the work. He seamlessly fuses a reference to the digital world, popular culture, the hand (or the self), and conceptual integrity into this object. "Selfie" seems to serve as a thesis of the exploration in the exhibition.
 

 Selfie, 2021-2022 Aluminum, 53h x 53w x 2d in
 

Another example of Brent's material experimentation, which underscores his interest, is "Time and the Sun," which embodies the central spirit of the exhibition of a place where technology and nature are not opposing forces but rather entities in constant negotiation. The smooth surfaces of the 3D-printed elements speak to industrial precision, while the rough-hewn amethyst, a naturally occurring mineral, introduces an element of organic unpredictability. Fusing these materials creates an aesthetic that feels simultaneously innovative and primordial. Jagged edges, curved extensions, and the interplay between synthetic smoothness and natural roughness generate a visual rhythm that guides the viewer through intention. The works engage in a dialogue about movement—not just physical movement but also ideological, technological, and artistic evolution. Interestingly, the 3D-printed elements sit atop the natural stone, echoing a totem-like configuration. Sitting high and elevated, the 3D printed form is an inner tube of child's play, reverberating the seed of creativity. Brent's material choices do more than merely juxtapose; they create a dialogue between permanence and impermanence, structure and entropy. Amethyst, known for its association with healing and spiritual grounding, introduces a mystical quality into the industrial compositions, prompting viewers to consider the spiritual or metaphysical dimensions of the materials themselves.

 Selfie, Detail, Courtesy of the artist and Freight + Voluume, New York, NY
 

Brent employs architectural and design elements throughout the exhibition, incorporating tchotchke-like objects into his sculptures. Many works resemble futuristic environments that have collapsed or are suspended in a dynamic flux. In pieces like "Small/Twist," a 3D-printed deflated inner tube appears precariously stacked atop a painted pedestal of particleboard,  evoking a sense of instability. Meanwhile, works such as "Us" and "Selfie" use bold geometric lines to assert structure and cohesion. These architectural gestures accentuate Brent's interest in urban environments, where organic growth and digital fabrication increasingly coexist. His pieces could be read as relics of a civilization where nature and artificiality have fused into a new, hybrid form.

Beyond the exhibition's aesthetic and technical rigor, "Dog Leg " engages deeply with contemporary theoretical discourse. Brent's work invites viewers to consider post-humanism, the notion that humanity and technology are no longer separate entities but part of a continuous evolution. His sculptures embody this tension, illustrating how digital and organic forms are no longer in opposition but integral components of a shared material reality.

Brent also subtly addresses environmental and ecological concerns through his material choices. The prevalence of plastics and industrial materials, often associated with environmental degradation, contrasts with the natural elements embedded within the sculptures. This juxtaposition serves as a powerful commentary on the Anthropocene—the epoch in which human activity has become the dominant influence on the planet.

 
Small Twist, 2022-2023, 3D printed plastic, acrylic paint, OSB, plaster 61h x 31w x 22d in, 154.94h x 78.74w x 55.88d cm
 

Some pieces convey a sense of rupture or fragmentation, while others feel monolithic and totemic, evoking ancient relics or futuristic artifacts. The balance of chaos and control within each sculpture mirrors the contradictions of the modern world, where rapid technological advancement coexists with a desire for natural grounding. Beneath the work lies an underlying sense of humor and irony. Brent sculpts and carves objects that echo domestic spaces, transforming solid aluminum into a meticulously carved stack of pancakes. To heighten the sense of domesticity, a dollop of butter sits atop the stack, with drips of maple syrup cascading down the sides. A similar approach is evident in Donut Hammer, where a wooden meat mallet has been intricately carved into a stack of donuts, complete with frosting and sprinkles accenting the treat.

 Time and the Sun, 2021, 3D printed plastic, acrylic paint, amethyst rock 72h x 39w x 37d in, 182.88h x 99.06w x 93.98d cm

"Dog Leg" is a compelling exhibition that challenges viewers to reconsider the relationships between form, material, and meaning. It is a testament to Brent's ability to bridge the past and future, the organic and synthetic, in conceptually rigorous and emotionally resonant ways. The exhibition explores material hybridity and conceptual fluidity, inviting viewers to navigate its fragmented landscapes and embrace unexpected detours.

In an era when the boundaries between the digital and the physical, the human and the non-human, are increasingly blurred, Brent's work feels both timely and timeless. His sculptures, much like the titular "dog leg," prompt us to consider the unpredictable turns of artistic and technological evolution—and perhaps to embrace them with curiosity and openness. WM