Isabelle Albuquerque’s formally powerful and psychologically charged sculpture invites multiple, simultaneous readings and perspectives. With a background in performance, Albuquerque uses her own body to investigate the multivalent nature of identity and to create a cross-temporal conversation that centers the experiences of women and their own connection to desire, sexuality and embodiment. In Orgy for Ten People in One Body, a recently completed body of work, Albuquerque marries ancient and contemporary technologies such as 3D scanning and robotic carving across multiple materials, each with their own agency and complex history, where the very idea of the human and the limits of the body are being confronted with unprecedented metamorphosis. She will present works from that series alongside new works from Alien Spring, a new series which will be presented in total at Nicodim New York in May 2025.

Albuquerque (b. 1981) studied architecture and theater at Barnard College and lives and works in her native Los Angeles. Recent exhibitions include Post Human, Jeffrey Deitch, Los Angeles (2024); DISEMBODIED, curated by Ben Lee Ritchie Handler, Nicodim, Los Angeles (2024); MATERNITY LEAVE: NONE OF WOMEN BORN, Nicodim in collaboration with the Green Family Art Foundation, Dallas (2023); Orgy for Ten People in One Body, Jeffrey Deitch, New York (2022, solo); BodyLand, curated by Lauren Taschen, Galerie Max Hetzler, Berlin (2022); Skin in the Game, curated by Zoe Lukov, Chicago (2022) and Miami (2021); The Emerald Tablet, curated by Ariana Papademetropolous, Jeffrey Deitch, Los Angeles (2021); Nuestrxs Putxs, Human Resources, Los Angeles (2021); and Sextet, Nicodim, Los Ange- les (2020, solo). Albuquerque’s work has appeared in numerous publi- cations including The New York Times, Artforum, L’officiel, and Flash Art. Last year she released Orgy for Ten People in One Body (Jeffrey Deitch, Nicodim, Pacific, 2023), a 450 page monograph about the series that includes conversations with the artists Miranda July and Arthur Jafa.

Robert Therrien (1947–2019) was born in Chicago and studied art at the Brooks Institute in Santa Barbara and at USC in Los Angeles. Therrien’s work created an extensive lexicon of numerous forms and motifs based on his memories, creating imagery that was both familiar and aloof. His vast body of work explores and reworks numerous immediately identifiable forms in a serial manner. He would often revisit and modify these structures in various media, including drawings, sculpture, photography, painting. His carefully wrought imagery encompassed everything from miniature works on paper to large scale architectural sculptural installations, of which he made a series as some of his final works.

Therrien graduated from the University of Southern California, and remained in Los Angeles for the next forty-five years, living and working in a vast studio which he designed himself.

Major exhibitions of Therrien’s works have been held at Gana Art Center, Seoul (2022); Tate Modern, London (2018); The Contemporary Austin (2015); The Albright-Knox Art Gallery, Buffalo (2013); Milwaukee Art Museum (2010); The Scottish National Gallery of Modern Art, Edin- burgh (2010); Kunstmuseum Basel (2008); Public Art Fund, New York (2005); Los Angeles County Museum of Art (2001); and Museo Nacional Centro de Arte Reina Sofia, Madrid (1991).

His work is collected by The Museum of Modern Art, New York; The Whitney Museum of Art, New York; Centre Pompidou, Paris; The Hir- shorn, Washington DC; The Tate Modern, London; Kunstmuseum Basel; The Metropolitan Museum of Art; New York; and many others.