Jessica Silverman is thrilled to announce Matthew Angelo Harrison’s long-awaited “Invisible Silhouettes,” a solo show of ten distinct sculptures. Demonstrating a significant evolution in the artist’s resin-encapsulations, these new works take the series on a gleaming, curvaceous trajectory, exploring human emotion and invisibility as a concept, perception and material state.

In the eighteenth century, the economist Adam Smith coined the expression “the invisible hand” to describe the dynamics of free-market economics. Harrison extends the metaphor by applying it not only to contemporary image-led reality and global political movements, but his own creative practice.

Where many artists outsource the fabrication of sculptures in industrial materials, Harrison insists on mastering CNC routers and other complex technologies, slowing down the process and managing the machines himself without even the help of assistants. Ironically, Harrison’s hands-on approach results in sculptures where evidence of a human hand is not explicit. However, the profound sense of touch recorded in Harrison’s forms is discernible as a feeling. Our bodies know what our eyes cannot see.

For the works in this show, Harrison uses clear resins instead of the tinted hues of his earlier “Dark Silhouettes.” See-through translucence is adjacent to invisibility. While carving and polishing the resin blocks, the artist imagined invisibility as a universe where the ends of straight lines meet again (what mathematicians call “circlines”) and hard edges mutate into receding horizons.