Joye Chadwick

Alessandro Gallo

Gallo builds human/animal hybrids and stages his ceramic personalities with wood, metal, fabric or plastic props. The resulting theater connects material hybridity to a fuller understanding of story and concept.
In the recent sculpture "Metro," Gallo's characters are subway travelers crowded in a stage set up as the London Underground. Gallo scripts emotional overlays in this theatrical plot. There is suggested tension, as if not enough room to kick back. Alone, silent, self-engaged, the travelers shun interaction with others except for lizard who wants something from reticent flamingo (she apparently expecting a warmer day, he sports a flamingo-color tie, will they get together later?) and frog who considers the encroachment of gull's foot on her thigh, in her space. Look at the eerie window reflections. There's always a back story, guessed at.
Gallo's combinations of animal characteristics are so absurd but he accomplishes reality with the help of costume, body language and detailing. You might recognize people you know. Although I think Gallo's work owes much to photoshopping, this theatrical sculpture - material hybridity - reveals the technically confident artist's fascination with human (animal?) nature.