Valerie Hegarty, Ghost of History, 2016, stretcher, canvas, paper-mache, acrylic paint, foamcore and molding.

Valerie Hegarty, Clipper Ship Shell, 2016, glazed ceramics.

Valerie Hegarty, George Washington with Branches, 2016, wood, canvas, paper-mache, wire and acrylic paint (Installation view - INTERVENTIONS 3, 2016).





ARTFORUM:  Critics' Pick 

-Heidi Harrington-Johnson      

Rotting, wounded, smiling--watermelons in Valerie Hegarty's latest exhibition of paintings and sculptures--are depicted as sentient objects: carnal, threatening. Several wedges of the fruit, done in ceramics, rest on a plinth, their pink flesh resembling gums and growing teeth, tongues, ribs, stalagmites, barnacles.



ARTnews:   Americana Gone a Bit Weird - Valerie Hegarty on Her New Ceramic Still Lifes

-Robin Scher    

 I am always interested in talking about transformation," Hegarty said one recent afternoon in her studio in midtown Manhattan, surrounded by a sinister set of anthropomorphic fruits-- tooth-filled watermelons rinds, spinal carrot carcasses and some Arcimboldo-style faces. The pieces are a morbid answer to kitschy centerpieces of yesteryear, now robbed of their evergreen freshness.



Hyperallergic:   Ceramics Stage a Coup at NADA Miami Beach

-Benjamin Sutton      

[Art Basel Miami] features works by several artists working in the same vein...that is, making figurative ceramic work that plays with scale and tone, or that uses the handcrafted medium to imbue typically inanimate objects with inner life. [A] shining example of this approach are the playful food sculptures by Valerie Hegarty that are on view in Miami gallery Locust Projects' booth.



cfile:   American Berserk

-Bill Rodgers    

[Hegarty's] work is topical, as it is informed by the 'current turbulent state of our country while also excavating from America's past.' What we're seeing here couldn't be described as decay, as such, but her work seems to have a theme of the gooey-ness of information, of shared knowledge. We live in a post-fact society and consensus validation is gospel. That, of course, leads to strange distortions of the truth--things that resemble fact, but are wholly alien to reality.



VICE: Nature Devours Art in a Series of Eco Sculptures

-Andrew Nunes    

The centerpiece of the exhibition is a sculpture by artist Valerie Hegarty, Return to the Catskills. An amalgamation of canvas, paint and moss, the piece is nature-art hybridity depicting a moss-covered tree (and a small woodpecker) devouring a painting. Malin says that the piece "directly attacks the idea of the landscape that exists outside the ravages of time and the impact of society."