Swiss-born, Los Angeles-based artist Carmen D'Apollonio has unveiled her latest solo exhibition "Salut, Ça va, c'est moi" at Friedman Benda gallery in New York City, filling the space with an enchanting collection of illuminated sculptures. The show, which opened this week and runs from September 11th through October 16th, 2025, features playful artworks crafted from handmade clay and blown glass that showcase both drooping gestures and the distinctive imprint of human hands.
D'Apollonio's new work represents a significant leap forward in her material experimentation, combining her signature hand-built ceramic bases with newly introduced sculpted glass shades. The ceramic foundations maintain the subtle irregularities that come from hand-building techniques, while the glass elements catch and scatter light in unexpected patterns throughout the gallery space. According to gallery representatives, each glass component required custom molds and weeks of slow cooling, a meticulous process that gives the finished pieces their distinctive clarity and substantial weight.
The relationship between clay and glass creates a compelling dialogue between opacity and transparency that evolves as visitors move through the exhibition space. The overall installation functions like a silent performance, with lamps leaning against walls, sprawling across pedestals, or suspended from the ceiling. Their silhouettes cast shifting reflections across the concrete floor, creating an ever-changing visual landscape that responds to both natural and artificial light sources.
Individual pieces within the exhibition demonstrate D'Apollonio's ability to infuse personality into functional objects. One work titled "Again I go unnoticed" bends outward as if caught mid-breath, suggesting a moment of animated suspension. Meanwhile, the glass shade of "It's All a Big Mystery" refracts light into soft edges that draw viewers' attention beyond the fixture itself, creating an experience that feels intimate rather than theatrical and encourages slow, contemplative observation.
Language serves as another crucial material in D'Apollonio's artistic practice, with titles that offer glimpses of humor and vulnerability. Works bearing names like "Why fall in love when you can't fall asleep" or "If you ever have forever" provide small confidences that meet viewers halfway in their engagement with the pieces. "I like when a lamp feels like it's talking to you," D'Apollonio explains, emphasizing how these sculptures successfully bridge the gap between pure functionality and distinct personality.
Despite their strong sculptural presence and artistic energy, these illuminated works remain thoroughly practical for everyday use. The Friedman Benda team notes that the ceramic bases and glass shades can be easily mixed and matched, offering versatility for collectors and users. D'Apollonio's Los Angeles studio reportedly contains numerous variations of these designs, suggesting an ongoing exploration of the form. The electrical components are discretely integrated, with wiring kept minimal and switches hidden yet accessible, ensuring that the functional aspects don't compromise the aesthetic integrity of these whimsical works that blur the boundaries between art and design.
