Christine Rebhuhn makes sculptures and relief works with an insistence on process: the studio labor is embedded in the final state, even when the construction is nearly invisible. She builds large forms by inserting wedges into wood grain, filling gaps, grinding angles for long stretches, and sanding until joints disappear and surfaces read as seamless.
Her practice often treats familiar objects—especially instrument-like components and marine attributes—as material to be re-shaped rather than symbolized. Carved ropes, housings, and instrument bodies are altered through cuts, incisions, and careful reoccupation, turning the aftermath of sound into a new kind of pressure between animal and tool. Titles and formal crossings guide attention to what remains elusive: meaning that gathers slowly, like a limit you only sense after standing there for a while.
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