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David Ebony’s Top Ten, January 1998:
‹Nicholas Micros at Trans Hudson›

In his first New York Solo exhibition, Nicholas Micros, a young New York sculptor, showed four large plaster and resin works and one small bronze. The tall and elegant plaster works are vaguely figurative, with some kind of presence hidden away under layers of billowy drapery. Mostly white, with patches of gray, brown or pink pigment visible in certain areas, these haunting works convey a dreamlike atmosphere.

‹Risen Figure› evokes a faceless specter who arises from the grave covered in a flowing shroud. ‹Objects in a Thicket› shows a conglomerate of totemic objects that appear to be tied up and covered in a canvas tarp. Here, Micros, whose studio experience includes a stint as a stone carver for sculptor Louise Bourgeois, presents an eloquent commentary on Surrealist sculpture. One thinks of Man Ray’s wrapped pull-toy, Giacometti figures, Bourgeois’s elegant totems and, of course, the works of Christo.

My favorite sculpture by Micros in this show is ‹Still Riders›, a haunting work that looks like a fabulous baroque equestrian bronze that has been melted down and covered with white sheets. In spite of its scary aloofness, the work seems animated as if this ghostly horseman could suddenly gallop away. The small bronze ‹Winter› appears similarly animated. In this piece a blobby, cloaked figure with outstretched arms is perched on a hollow log. This strange, half man-bird seems about to leap up and take flight.

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