The Era of Contradiction Materializes in Genesis Belanger’s Uncanny Sculptures
Genesis Belanger creates large-scale ceramic and bronze sculptures that interrogate the uncanny dimensions of domestic consumption and contemporary anxiety. Her work materializes psychological tension through distorted familiar objects—rotting fruit in medicine cabinets, pastel concrete birds in fountains, reinterpreted Lady Justice figures—collapsing boundaries between the artificial and real. A recent Public Art Fund commission, Heads or Tails, presents three sculptural scenes in Manhattan’s City Hall Park that reflect on chance, change, and social contradiction. Cast-bronze figures subvert classical iconography while cast-concrete installations with steel armature occupy public space with deliberate discomfort. Belanger’s practice examines how capitalism, technology, and domestic life coexist in psychological contradiction, transforming mundane objects into unsettling presences. Works employ stoneware, porcelain, fiberglass, and patinated bronze to articulate what the artist describes as nuanced contradictions—experiences simultaneously exhilarating and devastating. The sculptures appear in both institutional contexts and public commons, maintaining an emphasis on visual dissonance and allegorical critique.
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