“Verbal sculptures” and “strange archaeologies”—Maria Loboda’s recent works expose prior events through sparse details of entangled secrets, material contradictions, and masked collusions. Her sculpture is both indulgently verbal and obstinately reserved (Quelle: Verlag).

Oh, Wilderness also demonstrates the artist’s aesthetic equation between language and materiality as it works the other way around, translating materials expressive of a certain weak semiotics to language. Through these materials, nature is observed and read—now constituting a grammar, rigorously arbitrary, formal, and conventional.