Veronica Wolfgang is a multi-hyphenate artist and designer.
Veronica Wolfgang (b. 2001) is a multidisciplinary sculptor based in Brooklyn, New York. Working with found objects, metal, fiber, and installation, her practice centers on the quiet power of everyday materials. Wolfgang’s work examines the attachments we form with objects—how they carry memory, desire, ritual, and personal mythology.
Wolfgang holds a Master’s degree in Philosophy earned before the age of 21. Her work often brings philosophical questions into physical form, approaching theory through material experimentation and process rather than illustration.
A second-generation metalsmith without formal institutional art training, Wolfgang developed her practice independently from a young age, moving fluidly between sculpture, textile processes, and installation. This foundation in metalwork continues to inform her attention to structure, durability, and the physical logic of materials.
She has participated in residencies at Gracia in Antigua, Guatemala; RONDO in Mexico City; and Uncool Artists at the Brooklyn Navy Yard. Her work has been exhibited at Brooklyn Waterfront Artists Coalition, CultureLab LIC, and RONDO (Mexico City).
Alongside her fine art practice, Wolfgang runs the Brooklyn-based jewelry studio bywolfgang, where she produces small-batch demi-fine jewelry and wearable objects.
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Artists Statement
“I have always been a highly tactile person. Touch is a grounding force and a gentle reminder of our present moment. I create to understand. To foster this obsession in a way that won’t drown me.
The speed of our current world makes me nauseous and I know I’m not the only one. In my work, I embrace what machines simply cannot replicate. Crochet and many fiber arts can only be done by the human hand. Denying mechanical reproduction; like handwriting, they are unique to their creator.
Utilizing found objects and post-consumer textiles allows me to create something fascinating with things we typically ignore. I want to feel like the fibers are reclaiming each object – becoming something new.
The way we decay is undeniably elegant – gently falling back to the earth. I think about how this also happens with stories and legacies.
I began chemically crystalizing found objects to explore how we share stories (and bits of ourselves) through time & space. Discarded paperbacks and worn-through shoes suspended in time are representative of a life lived. A collection of unreadable and brittle forms. Modern fossils. Too fragile to be held. Their story will never be understood again.
Held in delicate yet inescapable webs, I am fabricating artifacts. As we separate from the stories and ways that have held us, we lose sight of what it is to be a part of a collective something. A collective story. Will we discover a new technology to remember ourselves?”
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Federici, S. (2004). Caliban and the Witch. Autonomedia.
Kundera, M. (1999). The Unbearable Lightness of Being (M. H. Heim, Trans.). HarperCollins.
Popova, M. (2019). Figuring. Pantheon Books