KAARI UPSON. “SUPPLEMENT I” (2016) AND “T.T.” (2017). URETHANE, PIGMENT AND ALUMINUM. INSTALLATION VIEW, WHITNEY MUSEUM OF AMERICAN ART, NEW YORK. © KAARI UPSON. COURTESY OF THE ARTIST, SPRÜTH MAGERS, AND MASSIMO DE KAARI UPSON. “IN SEARCH OF THE PERFECT DOUBLE (I)” (2016). URETHANE, PIGMENT AND ALUMINUM. 200.7 CM X 78.7 CM X 193 CM / 79 IN X 31 IN X 76 IN. © KAARI UPSON. COURTESY OF THE ARTIST, SPRÜTH MAGERS AND MASSIMO DE CARLO. PHOTO BY BILL ORCUTT. Sculptural installations, 
drawings, and 
videos by Kaari Upson 
are complexified manifestations of a singular artistic impulse— to make a more complete record of the world. She’s obsessed with getting to the truth, but often employs strategies of mediated fiction to pursue it. Her work involves houses, homes, important furniture, trees, fires, archetypes, voids, and disappearances. But not content with depiction, Upson instead invents methods for a kind of somatic realism, in which real and allegorical objects are transformed into life-size impressions of themselves and drawings are really maps of time’s passage. Lately, she’s been making life-size latex molds of giant
old trees, architectural elements, and even entire rooms in a...