Nogueira often created sculptures that incorporated found, broken, and abandoned objects, subtly transforming these inanimate materials to imbue them with a corporeal and psychological resonance. For instance, Mischief (1995) consists of a seatless wooden chair from which a trail of connected trash bags mysteriously extends across the floor. In Bald Fact (1995), a flagpole holds no flag, flying instead a single piece of almost imperceptible clear tape that stretches to the wall at eye-level, creating a fragile and ambiguous barrier. Running throughout Nogueira’s work are a number of coexistent dualities: fear and desire, attraction and repulsion, order and chaos. Her investigation of the relationship between the body and space, and the unsettling and poetic nature of her work can be attributed in part to her experience living and working outside her native culture.
Luhring Augustine
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