"Constructed from antique paper and the thorns of wild roses, Owen's sculptures suggest fortresses, reliquaries, and dreamlike towers. Their tapering forms strain upward, yet their surfaces are creased, stitched, and scarred, holding a quiet gravity. In Owen's hands, stability feels precarious, and foundations seem half-remembered, the scarred surfaces of her forms suggesting both skin and structure. Hidden recesses suggest stories of touch, damage, and sacred encounter."
"By channeling the psychological charge of Surrealism and the restraint of Minimalism, Owen creates forms that feel acutely of this moment. These structures suggest a longing for refuge while quietly acknowledging that permanence and safety are illusions. In an era defined by distrust (of institutions, intimacy, and even memory itself) these works register as both elegies for what has been lost and delicate propositions for what might still endure."
Sculptures constructed from antique paper and wild rose thorns suggest fortresses, reliquaries, and tower-like forms whose tapering shapes strain upward while their surfaces remain creased, stitched, and scarred, holding a quiet gravity. Stability feels precarious and foundations seem half-remembered, with hidden recesses implying stories of touch, damage, and sacred encounter. Drawings dissolve architecture into air and render forests, ruins, and moonlit skies in stains of ink, pastel, and light, where illumination drifts as echo and companion and the familiar slips toward the otherworldly. By channeling Surrealism's psychological charge and Minimalism's restraint, the works register longing, distrust, elegy, and fragile propositions for endurance.
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