Sculptures

Demi Kaia’s sculptures are deployed and aligned in a parade which is playful and profane, synesthetic, orgiastic and innocent. They are structured on found objects, mainly wooden, that Kaia gathers during her walks and reshapes them in sculpting gestures that are particularly accentuated in terms of gender and affect. At times, they remind scepters of a blasphemous carnival queen, tools of an ambiguous erotic conversation, hidden jewelry or intimate handicrafts. In these works, the manic diary writing style, typical of her drawings and paintings, unfolds in space. Kaia’s sculptures serve as a meeting point for several aspects of surrealism, from objets trouvés to the flow of libidinal energy that erupts from the joining of opposing elements to the very concept of the parade. The sculpture’s eroticism possesses carnal purity and behind the serene and festive trotting of the parade’s horses one can discern the violent fury of galloping, as if a forgotten coitus of the childhood reveals itself. André Breton used to say to his daughter that “childhood should be the time when children watch for those mysterious and splendid riders, dashing at dusk by the banks of nervous rivers”