Object, Interrupted

In "Object, Interrupted", British sculptor Theo Hart presents a new series of hyper-minimalist, high-gloss forms that elegantly blur the boundary between sculpture and sensation. The works, monumental yet void of ornament, seduce with their polish and curve—reflections not only of light and space, but of the viewer’s own presence. Hart's latest body of work is a meditation on material and perception. The sculptures are smooth, monolithic, and devoid of seams, often resembling closed loops or Möbius-like volumes frozen mid-transition. They resist literal interpretation, yet they feel profoundly animate—coiled, waiting, breathing in silence. One piece might evoke a reclining form; another, the mathematical purity of a continuous surface. Their ambiguity is not evasive, but invitational. Executed in polished obsidian-black resin and carbonized steel, the surfaces are so reflective they verge on disappearing into their surroundings, like pools of shadow made solid. In a white-walled gallery, the contrast is arresting. The works seem to hover—not just physically, but conceptually—between object and void, function and futility, artifact and presence. What is perhaps most striking about Hart’s sculptures is their refusal to “mean.” There is no narrative, no figuration, no didacticism. Instead, they invite a phenomenological experience: a slowing down, a circling, a reconsideration of spatial intuition. Their silence is absolute—but not empty. The exhibition title, "Object, Interrupted," gestures toward the core tension in Hart’s practice: the interruption of pure form by the mind’s desire to define it. These are not objects to be understood; they are forms to be felt. In a time of digital oversaturation and relentless symbolic overload, Theo Hart offers us something radical: the presence of a thing that simply is—irreducible, unnameable, complete.