On April 5, Kennedy Yanko will unveil two new exhibitions in New York City—“Epithet” and “Retro Future.” Known for her innovative work with metal and poured paint, Yanko continues to challenge the limits of material and meaning, redefining how we perceive sculpture. Her latest works prompt reflection on how raw materials can “speak” and how our interpretations shift depending on context.
Kennedy Yanko has spent years experimenting with material in ways that transcend traditional sculpture. Her work is a meeting point between two seemingly opposing forces: the rigidity of industrial metal and the fluidity of paint. Her sculptures are both dynamic and full of tension—twisted, rusted sheets of metal coexist with soft, almost bodily forms, creating compositions that balance between destruction and harmony.
The exhibitions “Epithet” and “Retro Future” continue this exploration while introducing new themes of language, perception, and the relationship between past and future.
“Epithet” – When Material Takes on Meaning
An epithet is a descriptive term that defines something or someone, yet it can also limit interpretation. Kennedy Yanko treats her sculptures as visual epithets—suggesting one meaning while opening the door to multiple possibilities.
In this series, she questions how perception shapes meaning. When we see a twisted, rusted metal fragment paired with soft, flowing forms, what do we recognize? A relic of the past, or a completely new narrative?
“Epithet” challenges the boundaries of interpretation and asks whether material can hold meaning on its own, independent of human storytelling.
“Retro Future” – When the Past Meets the Future
The second exhibition, “Retro Future,” explores nostalgia and past visions of the future. Throughout history, different eras have imagined what “tomorrow” might look like—many of those ideas now seem outdated. Yanko investigates this phenomenon by creating sculptures that exist between futuristic aesthetics and references to the past.
Using her signature techniques, she recontextualizes her materials—drawing inspiration from modernist architecture, Brutalism, and even science fiction. How does our perception of materials change when placed in different temporal contexts? Can metal and paint capture the essence of the future just as they can tell stories of the past?
Kennedy Yanko is not a sculptor in the traditional sense—she is an artist exploring how material functions as a language. Her works are visual sentences, open to multiple readings. By playing with the tension between raw industrialism and organic softness, Yanko demonstrates that art is not just about form—it is also a process of thinking about the world, matter, and perception.
The premiere of “Epithet” and “Retro Future” in New York is not just a major event in contemporary art but an invitation to reconsider how we see and understand material. This is art that doesn’t just speak—it demands a response.
Are you ready to hear what matter has to say?
Photos courtesy of James Cohan Gallery
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