I deliberately omit linguistic elements in the exhibition space to avoid disrupting the connection between the sculptures and their environment. I do not subscribe to the concept of "total art" because I want viewers to be aware that they are experiencing a work of art. Knowing that the piece was made by an individual helps people reflect on social conditions and life.

—Geof Oppenheimer

At first glance, Geof Oppenheimer's works resemble products of 19th-century metal casting traditions, and he himself has a background in metal casting. However, while his pieces are often made of metal, he occasionally employs multiple materials and techniques. These sculptures bear a hint of Rodin's style—collages of materials that ultimately coalesce into complete, self-contained forms. This almost ascetic aesthetic pursuit gives his work a distinctive character. At the core of Oppenheimer's artistic philosophy is the concept of "value," which encompasses economic, sociological, and symbolic dimensions, exploring how symbolic meaning can be restored in contemporary art. Composed of composite objects, his sculptures investigate the loss of common ground in public discourse, rendered in enduring forms through metal casting.

1. "Figures of Inversion"

At the UCCA exhibition "Figures of Inversion" in Beijing, Oppenheimer presented only three sculptures cast in bronze and aluminum, which he called "characters": The Observer, The Flagbearer, and The Businessman. These sculptures are bound in places, as if healing or repairing wounds, reflecting how we all find ourselves partially situated within social relationships. Post-World War II, we inherited a relatively binary system. Yet, under what is often termed neoliberalism—a system of abundant mobility and easily exchangeable resources—Oppenheimer argues we have reached a critical juncture, entering a new system whose full contours remain unrecognizable. The result is sculptures of uncertain futures, each character shaped by disparate past experiences. To represent this transition, the three sculptures in the exhibition are constructed from different, sometimes incompatible pasts, forming images of an unknown future.



OUIART :
Why did you name your exhibition "Figures of Inversion"?

Geof Oppenheimer:
I named the exhibition "Figures of Inversion" because I use different types of metals for casting, and the process involves inversion—creating a mold of the object before producing the final cast.

OUIART :
This project developed over three years, starting in 2019. How has it evolved over time?

Geof Oppenheimer:
This long-term project has been particularly challenging, especially against the backdrop of the pandemic and social change. Over time, the environment surrounding the three "characters" has grown increasingly complex—originally planned in 2019, their context has become as significant as the sculptures themselves.

2. The Characters

Oppenheimer believes art can explore and answer questions about community and value beyond mere aesthetics. The "Figures of Inversion" exhibition is an installation space divided into multiple directions, challenging viewers with an excess of possible paths and investigative threads. The setup resembles an immersive theater stage, where audiences encounter a series of scenes and characters as they navigate the partitioned space.

"The Businessman" is a solitary male figure standing on a Formica base. The figure strikes a heroic pose, with one foot firmly planted forward and the other tilted back, echoing the contrapposto stance of Western classical sculpture. Yet, in "The Businessman," only hints of contrapposto remain, forcing viewers to reconstruct the posture from fragmentary evidence. The figure is composed of readymade objects spliced together and cast in metal. The original items are often destroyed after casting, but their ghosts linger in the final work.

"The Flagbearer," centered around a flagpole, features a blank metal surface devoid of any specific emblem or color. This lack of specificity strips the flag of unique identity, rendering it universal and meaningless. Oppenheimer aims to highlight the fragility and instability of symbols and their ability to retain meaning over time. By creating a blank canvas, he questions our trust in symbols and the assumption of their permanence. The Flagbearer represents the failure of symbolism, reminding us of the fluidity of language and the power of interpretation.

The third character, "The Observer," is a life-sized bronze glove holding a magnifying glass over a blank tablet. The tablet, cast as a monochrome surface, displays no text, warnings, or suggestions. Placed on a laboratory cart, the sculpture implies a scientific context, but even with the magnifying glass, viewers find nothing revealed. "The Observer" questions whether surveillance and observation lead to deeper understanding, suggesting that constant observation may be an end in itself, with no promise of true insight. Like Oppenheimer's other figures, it underscores the fragility of symbols through the absence of depth.

OUIART :
Why did you choose to omit explanatory text in the exhibition space? The experience of the space seems to merge with the experience of the works—does this relate to concepts like "total art"?

Geof Oppenheimer:
I deliberately omit linguistic elements to avoid disrupting the connection between the sculptures and their environment. I do not subscribe to "total art" because I want viewers to recognize they are engaging with a work of art. Knowing it was made by an individual encourages reflection on social conditions and life.

OUIART :
You often use readymade objects but present sculptures as unified entities despite their composite nature. How does the autonomy of sculpture and the importance of handcrafting influence your process?

Geof Oppenheimer:
Presenting sculptures as unified entities is crucial to me. This aesthetic stems from 19th-century casting methods, which I adhere to in my studio. Handcrafting is essential because it’s through the unique casting of objects that formal autonomy is achieved. I want my sculptures to offer viewers an autonomous form or character to explore their social significance and conditions.

OUIART :
Is there a specific masculinity in your work, given traditionally male-associated symbols like the businessman’s boots?

Geof Oppenheimer:
While I don’t focus on masculinity in my art, as a man living in the U.S., I’m aware of discussions about toxic masculinity. Still, I believe it’s important to redefine male imagery. In past works like Twentieth Century Hustlers, I’ve explored these ideas in depth, examining the multifaceted nature of male identity.

3. Monuments and Public Arcades

Oppenheimer’s interest in the function and nature of monuments lends his sculptures an eerie quality, as if they hover between remembering loss and refusing to forget. He probes the role of weight and traditional value in modern economies, raising questions about embodiment, monument placement, masculinity, and how sculpture adapts to the new systems we’re entering. The sculptor doesn’t claim to have all the answers, but these are the questions he grapples with in his art.

He also draws inspiration from De Chirico and his metaphysical treatment of space. To Oppenheimer, De Chirico is not a surrealist but a painter whose works possess a hardness the sculptor admires. De Chirico’s portrayal of bodily isolation in public spaces, with all energy focused on the figures, resonates deeply. For the exhibition, Oppenheimer "borrowed" the idea of arches—a common form in public architecture across cultures—from De Chirico, transforming the space into one where political discourse unfolds.

Alongside the sculptures, a series of photographs explore the history of material and value. These include images of the world’s oldest mines, a composite borrowed from a 14th-century Bavarian wood carving (an allegory of debt), and Microsoft’s Redmond headquarters—a building that, having birthed Windows 84, symbolizes the end of the material economy and the dawn of an uncertain era.

OUIART :
Can you explain your references to De Chirico and the purple carpet on the ground?

Geof Oppenheimer:
I’m drawn to the melancholic arches, figures, and romantic atmosphere in De Chirico’s paintings. They evoke a hot summer evening with long shadows—a moment he clearly loved, as seen in his arches. I focused on his forms, devoid of conceptual elements. The purple carpet was chosen to introduce a vivid accent to the space.

OUIART :
How do you see the relationship between the photographs and sculptures in the exhibition?

Geof Oppenheimer:
The photos provide a backdrop, shaping the overall atmosphere and representing concepts like capital, obligation, and value. Each image reflects different social relations—e.g., the world’s earliest mine, Microsoft’s internet-era office, and a 14th-century Bavarian sculpture about debt. Together, they create a comprehensive space exploring modern societal complexities.

4. Politics and Emotion

"The Businessman" was conceived as a failed monument, with exposed rebar exuding pathos. Oppenheimer’s use of allegory and metaphor around exposed structures prompts us to consider elements typically hidden in architecture and design—like the scaffolding and rebar in seemingly "hazardous" sculptures. The scattered rebar, seemingly random at first glance, is central to the work. As political theorists like Martha Nussbaum and William Davis argue, emotions are pivotal in contemporary political decision-making. By evoking public sentiment, the artist engages in a critical act, fulfilling his mission.

In The Businessman, rebar blurs the line between materiality and symbolism, creating a sense of deconstruction and instability. Typically used to reinforce concrete, the exposed rebar competes with the structure’s support, a boundary-blurring effect that makes Oppenheimer’s work an identifier of social landscapes. His overloaded style mirrors the contradictions in public discourse, revealing the true face of modern society. This method reflects significant social shifts and the emergence of new symbols, rendering old ones obsolete. Thus, Oppenheimer’s sculptures reject simplistic worldviews, offering a provocative lens on our era.

OUIART :
Could you recommend some books you’re reading?

Geof Oppenheimer:
William Davies’ Nervous States is excellent on the relationship between knowledge and information. He offers a very British perspective, which always sparks interesting discussions in my classes. Martha Nussbaum is one of today’s most important political thinkers; her Political Emotions brilliantly examines the interplay of reason and instinct.

OUIART :
Your work often deals with social relations. How do you view the term "relational aesthetics"?

Geof Oppenheimer:
When I was in art school, "relational aesthetics" was popular, but it’s not my approach. I focus on social behavior, not methodology. Relational aesthetics is a methodology, whereas I create traditional artworks that embody these behaviors. Marxism also discusses social relations as resource distribution, but reality is far messier—it’s about who holds power and how people act. Unlike relational aesthetics or Marxism, I’m more interested in exploring illogical, darker aspects of human behavior.

OUIART :
Are the economic and social elements in your work tied to a specific U.S. context, or do they reflect universal human conditions?

Geof Oppenheimer:
Though I hesitate to use "universal," my work reflects early 21st-century human experiences. While some aspects may be Midwestern-specific, the exhibition’s journey from Saudi Arabia to China to the U.S. reflects neoliberalism’s global impact. Thus, my work addresses broader human conditions, even if specifics vary across regions.