“One of the threads that connects her varied interests is a belief that art can restore our capacities to love ourselves and our communities”
—Aruna D’Souza, The New York Times

vanessa german is a leading citizen artist working in sculpture, performance, and communal ritual to cultivate spiritual models for transforming human experience. Establishing her own self-taught approach and distinctive artistic language, german's influential practice employs mineral crystals, beads, glass, found objects, and other sourced material to create expressive figurative sculptures that resound through the physical and metaphysical worlds. Her unique sculptural vocabulary transmits healing energy, affirming the power of love as an infinite human technology.

Considered inextricable from her identity as an activist, german's autodidactic artmaking has its lineage in indigenous and West African folk practices as well as Black Arts movements from 1960s onwards. Working primarily with assemblage, german sculpts wood and plaster which she then adorns with a vast range of materials-some found in her community, others sourced from across the country-including prayer beads, doll parts, handmade patterned quilts, skateboards, rope, silk flowers, cowrie shells, coke bottles, vintage porcelain bells, and astroturf. These "ingredients", as german refers to them, form just one part of each work's medium, and are listed alongside the metaphysical components that the artist sees as indivisible from the physical objects. Such juxtapositions create complex metaphorical meanings, where the resulting cacophony of language, texture, and image is freighted with both the emotional and the physical; the spiritual and the material. In german's words, "the objects become both the wound and the medicine."

german's sculptures are as much defined by their tangible elements as their transcendental properties, a combination which the artist describes as the ingredients of her work. Since the early 2010s, she has assembled ritualistic structures known as power figures using glass, beads, gemstones, nails, wood, and other objects. Whether mineral crystals originating in the earth millennia ago, or cobalt blue bottles resembling those used in bottle tree traditions for generations, every object chosen by german channels frequencies that span its entire existence. Channeling precolonial and African diasporic traditions, her figures allude to the Kongo nkisi nkondi, each charged by the protective and restorative spirits that complement their physical materials. Guided by her own creativity, imagination and curiosity, german follows her intuition about the capacity for objects to tell stories, creating sculptures that resonate deeply with those who encounter them.