In the last ten years, Jehanne-Marie Gavarini's sculptures and installations have dealt with gender, as well as representations and constructions of fantasies and sexuality.

While we are spreading our new virtual wings and learning the ABC of travel in cyberspace, our bodies are still, sometimes painfully, grounded in material reality. Gavarini's work combines the presence and solidity of sculptural objects with the characteristic absence and weightlessness of post-minimal works of art. Some of the pieces allude to the body while others are more literal representations of the figure. Whether they look like body parts, empty containers, or contraptions for evanescent bodies, these pieces stand in between sculpture and the body. They address the limitations of sculptural objects in an age when the dematerialization of works of art is creating tensions and anxieties for object makers. Gavarini's objects often look machine-like. They are grounded in the visual language of the mechanical age. However, the juxtaposition of hard elements such as concrete, metal, and hardware, with soft materials such as fabric, white bread, and rubber evokes the construction of robots and bio-engineered bodies.