"It’s a bit like staring into a funhouse mirror: the initial intrigue or amusement quickly gives way to discomfort, as distorted reflections reveal something uncomfortably familiar."

- RJ Calabrese

RJ Calabrese. Detail of bunker: Room 4- restoration room, 2022. Water mixable oil paint, polymer clay, wood, faux fur on cradled wood. 8.5 x 8 x 2 in. 

RJ Calabrese's works are intimate displays of absurdism that open an array of complex emotions. His works portray visceral sequences of violence and perversion to question our ability to feel uncomfortable, while also being attracted to the colors and shapes that welcome a feeling of dreamlike wonder.

Join us in this Q&A as RJ shares with us what impacts his practice, and how he approaches his ideas through his work. 

RJ Calabrese. Squeeze, 2009. Water soluble oil, polymer clay on wood. 8.5 x 8 x 2 in.

What is impacting your practice at the moment?

RJ Calabrese: It’s a tangle of things, really. I picture it like this: someone’s inflating a balloon—bright, ridiculous, full of breath and intention—and just as it reaches its peak, their lips slip. The balloon whirls off, sputtering wildly, and lands squarely in the open mouth of someone mid-diatribe about politics, injustice, or the end of the world. It’s absurd, comic even—but beneath the laughter, something serious trembles. That’s the texture of my practice right now: a chaotic dance between humor and heaviness, carried on unpredictable winds.

RJ Calabrese. bunker: Room 1- Wash room, 2022. Water mixable oil paint, polymer clay, silk, silicone, synthetic hair, resin. (Arm is a push/pull lever) on cradled wood. 18 x 18 x 2 in.

What work are you most excited to make next?

RJ: I’m most excited by making work that stops me in my tracks, confuses me (even though I made it), makes me laugh, or just makes me go ‘ew’—basically golden retriever behavior: wagging my tail proudly at something I don’t even understand.

What first comes to mind when you think of the month of September? Do you have a personal connection with it?

RJ: September is the calendar’s way of saying, ‘Fun’s over, get a job.’ As a teacher, that’s when I swap summer denial for lesson plans. I was supposed to be born in September but came early in July, so instead of Virgo’s precision I got Cancer’s mood swings. Thanks, universe.

RJ Calabrese. bunker: Room 4- restoration room, 2022. Water mixable oil paint, polymer clay, wood, faux fur on cradled wood. 8.5 x 8 x 2 in. 

Your works balance illustration with sculptural qualities, even at a small scale. How does working in this more intimate format shape the way you approach your ideas?

RJ: These smaller works invite viewers into a more personal interaction, making the artwork feel accessible and inviting. Because they aren’t imposing in size, they encourage a closer engagement, fostering curiosity and a desire to connect physically with the art.

RJ Calabrese. big hands, 2009. Water soluble oil paint, polymer clay, human hair, graphite on wood. 8 1/2 x 8 x 2 in.

"The use of tactile elements evokes a visceral impulse to touch or engage with the pieces directly. Yet this physical draw complicates the viewer’s relationship to the work. Encountering these miniaturized "atrocities" demands an emotional reckoning, prompting viewers to confront and negotiate their own responses. It’s a bit like staring into a funhouse mirror: the initial intrigue or amusement quickly gives way to discomfort, as distorted reflections reveal something uncomfortably familiar."

- RJ Calabrese