Adriana Wynne (b. 1997) is a French-American multidisciplinary artist based in London, working across sculpture, object-making, and painting. She earned her MA in Sculpture from the Royal College of Art and holds a BFA from Parsons School of Design. Her work has been exhibited in London and New York, including with Lux Feminae, The Bomb Factory, Black & White Gallery, Shipton Street Gallery, OCD Gallery, and Iconic Images Gallery. In 2026, her work was included in The Wall Street Journal coverage of Frieze New York.
Statement:
The relationship between body, emotion, and material sits at the centre of my practice. Drawing from bodily fragments, natural forms, and imagined organisms, the work occupies a space between familiarity and estrangement. Ideas of duality run throughout, with forms navigating fragility and strength, attraction and discomfort, beauty and estrangement, known and unknown, and the emotional and physical. Bronze, glass, steel, and stone become both a physical language and a visual index through which emotional and sensory experiences are communicated. Forms often resist clear identification, instead inviting associations with the anatomical, geological, botanical, or artificial.
Material experimentation is integral to the development of each sculpture, with the process playing an active role in shaping the final form. Techniques such as lost-wax casting preserve traces of touch and transformation, while the inherent properties of different materials influence structure, surface, and composition. Rather than beginning with fixed representations, forms develop intuitively through making, allowing process and material to guide their evolution. An attraction to raw materials and their capacity to act as signifiers of meaning is central to this process. Their physical properties, histories, and social associations are drawn upon to generate meaning, feeling, and recognition. Contrasts between materials further allow seemingly opposing qualities to coexist within a single object.
A desire to make internal experiences tangible underpins the practice. Sculpture becomes a means of externalising memory, tension, vulnerability, and sensation, translating what is often unseen into physical form. Through material transformation, the work seeks to create sculptures that function not simply as representations, but as physical and emotional encounters, encouraging an instinctive and bodily relationship between object, viewer and daily life.
