Company to present DASH, a solo exhibition by Swedish born artist Cajsa von Zeipel. Known for her uncanny silicone-based sculptures that blur boundaries between the corporeal and the artificial, von Zeipel now returns to plaster, a medium steeped in classical tradition, to consider the cyclical nature of collapse and recovery. Appropriately titled DASH, the exhibition draws on the word’s multiple meanings to strike violently, to run in urgency, to break apart—as well as its role as a grammatical connector, a mark of interruption or continuation. This layered symbolism mirrors the works themselves, simultaneously suspended in atrophy and reconstruction. DASH is a charged meditation on power and the systems in flux, navigating the unstable frameworks that shape contemporary life.
Von Zeipel’s sculptures rise within a kind of post-human Tower of Babel, where fragmented forms, scaffolding, and symbolic debris are stacked in delicate conversation. These assemblages loom as monuments to decaying institutions, destabilized and out of time, as if excavated from the depths of a museum’s forgotten vault. Built up, stripped down, and layered with intention, figures contort into anatomically improbable poses, exposing the traces of their own making. Here, plaster is not merely a reference, but a living material. Bodies appear caught mid-transformation, neither fully formed nor entirely broken. They climb, fall, and shift gracefully, suggesting a subdued sense of unrest. Are they assembling themselves? Or coming apart?
Setting the stage for these tableaus is Automatic (2006), a film by Swedish artist Peter Geschwind, where flying objects erupt into chaos movement and anonymous bodies charge through a disorienting digital landscape. Despite its mechanical logic, the world feels volatile and alive, teetering on an edge where gravity dissolves and motion never stops. Further activating the senses and deepening the atmosphere, orange lighting washes the gallery space in an apocalyptic glow and a custom scent that conjures burning embers drifts through the installation. Animalistic creatures surface throughout as quiet symbols. They serve as enduring witnesses, detached yet ever-present, embodying what was, and what remains.
Silicone sculptures punctuate the exhibition with visceral intensity. Saturated in pop-cultural textures and
rendered with fleshy tactility, these works navigate emotional volatility and bodily precarity. In one, a canoe holds two figures, marooned within a raft-like shelving unit that nods to Gericault’s Raft of the Medusa, shifting the focus from collective disaster to solitary psychic drift. In another, a bride hangs suspended upside down from the ceiling, her body dangling in a moment of descent that echoes Baroque depictions of fallen angels.
From her outstretched hand, rice slips and scatters, collecting in mounds across the gallery floor. A symbol of both ritual and nourishment, the rice elicits a disrupted tradition and underscores the ambiguity between sustenance and emptiness.
Rather than existing in opposition, the silicone and plaster works reflect and inform one another, together
articulating von Zeipel’s ongoing exploration of transfiguration. The stark material contrast heightens their reciprocity: the heavy, historic weight of plaster meets the slick contemporary immediacy of silicone, reflecting a practice deeply invested in queerness, embodiment, and the architectures – personal, institutional, and cultural – we build to survive. Through this interplay, von Zeipel reveals how different material languages can speak to shared states of vulnerability, resilience, and becoming. These sculptures do not offer resolution, but instead dwell in the tension of what it means to change. As history buckles and identities are reassembled, DASH poses the haunting questions: what do we salvage from the wreckage and who or what gets to begin again?
This is von Zeipel’s fourth solo exhibition at Company.
Cajsa Von Zeipel, DASH, May 6th – June 21st, 2025 Company
All images courtesy the Gallery and Artist
About the artist
Cajsa von Zeipel b. 1983, Gothenburg, Sweden Lives and works in New York, NY. Cajsa von Zeipel delves into identity, gender and queerness while interrogating ideals of classicism through sculpture. Culling from sci-fi and fantasy aesthetics, she constructs her figures in brightly colored silicone and adorns them with dollar store accouterment turned glistening treasure. In a resolute assertion of femme visibility
and sex-positive provocation, these beings celebrate a world of their own creation.
Recent solo exhibitions include Alternative Milk, Andrehn-Schiptjenko, Paris, France (2022); Cajsa Von Zeipel, Rubell Museum, Miami (2021); A Theory of Feline Aesthetics, Cherish, Geneva, Switzerland (2021); Nine Lives, Company Gallery, New York (2020); Futuristic Lesbian, Andréhn-Schiptjenko, Stockholm, Sweden (2019); The Gossips, Arcadia Missa, London, United Kingdom (2019); Alpha State, Company Gallery, New York (2017). Other recent group exhibitions include those at Museum of Modern Art Warsaw, Warsaw; Gothenburg Museum of Art, Gothenburg; CF Hill, Stockholm; the Rubell Museum, Washington DC; the Museum of Sex, New York; Arken Museum, Ishøj; the Athens Biennale, Greece; Copenhagen Contemporary, Copenhagen; Kunsthalle Düsseldorf, Germany; Company Gallery, New York; Karma International, Zurich; Konstmuseum, Arcadia Missa, London. Her work is in numerous public and private collections such as the Onassis Foundation, Rubell Foundation, Museum of Modern Art Warsaw, Faurschou Collection, 21C Museum, Modern Museet, Borås Museum of Arts, Tank Shanghai, Foundation Mallorca, the Eskilstuna Museum of Art, Gothenburg Museum of Art, Gävleborg County Museum and Västerås Museum of Art.
