New York-based artist Genesis Belanger has made a name for herself exploring the uncanny and unconscious meanings of everyday objects, crafting mysterious handmade tableaux vivants that blend mass-production aesthetics with exquisite craftsmanship across a range of materials, from wood to porcelain. She’s currently preparing for her upcoming show, “In the Right Conditions We are Indistinguishable” at Pace Gallery’s Hanover Square location, which opens on October 9 to coincide with London Art Week, but hit pause to speak with Observer about the themes shaping her new body of work.
Belanger describes the exhibition as a series of vignettes that challenge our relationships with material objects and the desires, needs and emotions we project onto them. “This idea that something or someone could all be the same, except for the context that makes one different. The context is what changes the person,” she explains. In our conversation, Belanger reflects on America’s polarized state and suggests that many of these perceived differences are actually shaped by external circumstances. In her work, she captures the tension between the homogenization of cultural habits driven by global mass production and the deeply personal stories we attach to the objects that surround us.
Underlying Belanger’s practice is a fascination with how advertising and popular culture shape our perceptions and the value we assign to material goods. Her meticulously crafted replicas of ordinary objects serve as eerie anthropological artifacts of mass consumption, revealing the layered associations and emotional weight we impart onto inanimate items. By inviting us to examine these items as symbols of our collective desires and anxieties, not to mention our deepest fears, Belanger’s installations offer a commentary on the complex interplay between consumerism and personal identity.
The surreal quality of Belanger’s art is intrinsically linked to her interest in human psychology, a fascination that both Surrealism and advertising share. “I feel like the surreal character in my work is because Surrealism is interested in human psychology and the subconscious, and so is advertising,” the artist told us. “I came to the surreal or uncanny elements through an interest in the tools advertisement uses to manipulate.” At the heart of her research lies a deep focus on psychology, which then intersects with sociology and semiotics. She’s not necessarily intentionally making work thinking about Surrealism, but she very much is thinking about human psychology.
Belanger’s practice stages scenes that hover between dreamscapes and studio sets, where miniature versions of human daily dramas are enacted through the objects that define those interactions. She examines how these items transform into symbols, becoming part of more intricate narratives. Yet, her characters (the objects) appear transient, embodying a sense of impermanence—as if they are worn-out replicas of a once-meaningful original, shadows of the objective referent drained of value and meaning through repeated remediation.
As for contrasts, Belanger’s ghostly, malleable cartoonist avatars of the real subjects have hilarious yet poetic titles, which transport them into another symbolic universe, already detached from the materialism that characterizes the capitalistic mass production and consumption from which they originate—and by which they would otherwise be condemned to rapid obsolescence. Occasionally, these objects become so malleable that they metamorphose entirely, adopting human-like features and transforming into eerie fantasies or unsettling creatures, evoking a blend of attraction and repulsion. Through synesthetic play, her sculptural creations evoke psychological responses that blur the boundaries between senses, unlocking a surreal, nonsensical realm of expression beyond any conventional linguistic code.
It’s no wonder that some of her pieces are reminiscent of characters from animation, such as those in Disney’s Fantasia. They tap into similar Surrealist imaginings, unveiling hidden aspects of the collective unconscious and conjuring a vibrant symbolic universe that resists the rigid societal frameworks of productivity and rationality.
“I’m always interested in the element of time and how, if you create a scene or an image that alludes to the presence of a person who’s no longer there, it’s like all the objects left behind are just evidence,” Belanger explains. “The viewer can access and then enter a narrative.” In this way, her works become relics—remnants that evoke human presence and their stories without depicting the actual subjects. By blending beauty, nostalgia and humor with motifs of capitalist consumerism, Belanger provokes specific psychological responses, allowing us to connect with the objects’ narratives and emotional associations. In this sense, they also serve as reminders after the loss and absence, contrasting the restless circle of consumption and destruction by freezing in time and eternalizing the emotional values associated with the original products.
The artist acknowledges that it’s impossible to escape the consumer-driven reality surrounding us. Thus, her primary source of inspiration is the overwhelming flood of products and images she encounters daily. “I live in New York, and I travel mostly by bike,” she says. “I feel like I’m just moving through this center of capitalism and seeing so much all the time. I don’t think you could exist today and not be inundated with a type of delicious image or images made to touch our desires. I’m a visual sponge; I’m absorbing every single thing that interests me.”
During this appropriation, Belanger creates critical friction between the readily available and reproducible mass-produced objects and the laborious craftsmanship behind her version of those objects. Using ceramics, wood and other natural and traditional materials, she highlights the handmade, tactile nature of her sculptures, imbuing them with a distinct material presence that transforms them into “artifacts” and cultural records of contemporary society and of the state of our civilization. This focus on craft interrupts the ceaseless flow of products and advertising, giving these objects a new weight and individuality, allowing them to stand apart from the homogenized world of consumer goods and acquire unique identities.
These layers of interpretation add depth to Belanger’s practice, especially considering how, in photographs, her art often resembles digital images created by A.I. based on inputs about our human needs. “I think it’s exciting to make an object that exists in the world, but when it’s photographed, it could just be like the imagination of an artificial intelligence,” says Belanger.
This concept complicates the relationship between her creations and the real-life objects that inspire them, highlighting how Belanger’s artistic process absorbs and transforms these influences into new material forms—similar to how A.I. processes and reinterprets data on human consumer behavior. Thus, her work reflects on the meaning and significance of objects and products, a dialogue that gains further relevance as data itself becomes more valuable than the physical items it represents. Despite these complexities, Belanger’s art ultimately encourages us to appreciate the tangible materiality of the objects we create, interact with, and integrate into our lives.
Genesis Belanger’s “In the Right Conditions We are Indistinguishable” opens at Pace London on October 9 and will remain on view through November 9.
Elisa Carollo
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