Zubrick is Sleeping, 2026.
Sculpture, Installation, dimensions variable.
Zubrick operates as a pseudo self-portrait through which failure, shame, masculinity, and mortality are confronted. A singular character presented as an image of multiplicity, Zubrick appears repeatedly across the installation. Through this repetition, he shifts from an individual figure into a state of being. Sleep, exhaustion, and arrested agency become spatially and temporally dispersed, a lonely stirring against the floor.
Their intimate scale demands bodily attention, placing the viewer in a subtly dominant yet uneasy position and prompting a sense of domestic anxiety without theatricality. Deliberately pathetic, the rat forms elicit attention through weakness and an insufficiency for autonomy. What is encountered does not announce itself as sculpture so much as evidence, traces, remains, or sleepers. The rats’ postures mimic care, curled, tucked, almost held. An unresolved tension persists between care and disposal, between whether these forms are protected, mourned, or left behind.
The work insists that bodies are not separate from their surroundings, but extensions of the spaces they inhabit. Their whiteness closely matches the surrounding walls, allowing them to be partially absorbed into the architecture rather than emphatically placed within it. Corners function as zones of compression and neglect where things accumulate but are not meant to be seen. The floor–wall junction becomes a threshold between vertical order and horizontal residue. Through the rat as a peripheral figure, attention is redirected toward what is usually overlooked, heightening awareness of the space itself and how it holds bodies.
Zubrick is Sleeping frames tiredness as action. Sleep is treated as a permanent condition, a reminder of death without naming it directly. In his withdrawal, Zubrick communicates what persists when agency is suspended. Time is marked through presence and stillness.
