In her second solo exhibition with the gallery, Vainsencher shifts from direct depictions of fertility, pregnancy, and motherhood toward a more structural and formally experimental approach. Through pinched clay, carved imagery, contrasting matte and glossy glazes, and ultrasound-inspired marks, she evokes drawing and printmaking while exploring bodily experience.
Referencing both the amphora and the portrait cameo, Vainsencher transforms classical forms into asymmetrical, unstable silhouettes. In Hope, the exhibition’s largest work, a monumental female figure is compressed inside a bottle, reflecting the constraints of motherhood. Drawing on Picasso’s depictions of women, the sculpture conveys entrapment while a hand reaching beyond the vessel suggests agency, escape, and renewal.
