PICTORIAL FOUNDATION | ALEKSANDRA SCEPANOVIC

ALEKSANDRA SCEPANOVIC

Woodstock NY UNITED STATES

I sculpt because form is the language my thoughts take. My work lives in the space between presence and becoming, where bodies are grounded in material yet reaching toward something manifest.

In my practice, I gravitate toward the vertical gesture because it embodies a fundamental paradox: weight moving toward lightness, gravity toward release.

ARTWORKS

Skyborn (2025)

Aleksandra Scepanovic
plaster and steel, 110 x 46 x 32 in (279.4 x 116.84 x 81.28 cm) $2000

'Skyborn' rises over nine feet, a slender plaster apparition holding stillness and tension in its open-armed ascent. Its plaster skin presses against a steel core like soil shaped by wind, anchored to the earth while remaining attuned to the sky. Neither purely figurative nor purely abstract, 'Skyborn' is vertical, attenuated, and suspended between states. Occupying the threshold between body and aspiration, rooted yet always straining elsewhere, the sculpture reads less like a body and more like a presence that has borrowed one.

'Skyborn' is a quiet negotiation with that paradox, a testament to persistence rather than heroism. Its scale and posture invite a physical encounter, fostering a dialogue between viewer and object about ambition, vulnerability, and the gravitational pull of lived experience.

The Narrowing (2026)

ALEKSANDRA SCEPANOVIC

metal, plastic, plaster, fired clay, leather, found objects
96H x 108W x 16D in (244 x 274 x 40.5 cm)
US $18,500

“The Narrowing began with an abandoned high school scoreboard, an object originally designed to measure progress, competition, and failure in clear numerical terms. I repurposed the scoreboard’s circuitry into a looping sequence of red illumination in which the word “STRIKE” and the numbers 1, 2, 3 cycle endlessly. Removed from its original context, the sequence began to feel less like a game mechanism and more like a system of pressure without resolution. Between the two scoreboard panels, I embedded the body of a female mannequin as though compressed within the structure itself. Her face is made from differently colored fired clay fragments and bound to the mannequin with red leather straps. I wanted the face to resist coherence, to appear assembled under strain rather than complete or stable. In this work, I am thinking about conditions in which pressure becomes normalized to the point that adaptation itself turns into confinement. The sculpture offers no moment of release or triumph. Instead, the body remains suspended inside an architecture that continuously measures, signals, and tightens around it. The scoreboard shifts from an instrument of sport into something closer to a public monument to endurance, repetition, and the quiet manufacture of collapse.”

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