Located in Detroit.





Alexandra Virginia Martin (b. 1993) (any/all) is an American sculptor living and working in Detroit. Raised in greater Detroit and Mexico City.

Fluent in Spanish. BFA in Fine Arts from College for Creative Studies, 2015. Martin has exhibited work in Detroit, Chicago, Columbus, New

Jersey, New York and in Puebla and Oaxaca, México.  She has organized exhibitions in Detroit and Puebla. Martin’s work is site-specific and

its exhibition is often self-organized.

Martin is the sole-proprietor of anhelo anhelo, a nomadic project space for sculpture, video, translation, kindness and poetics, founded 2018.




I study plant behavior,  translation, poetry, and kindness.  The architecture and natural elements of spaces I inhabit inform my site-specific,
environment-specific installations
.  My work incorporates the performance of public process, intimate collaboration, writing, and ephemera into
its presentation and these are an equal part of the work.

I use stretchy, translucent, biodegradable materials to make geometric forms that hold wet, viscous, and sweet materials.  I hand-build
sloping organic vessels out of concrete.  The forms I build are made of simple shapes, emphasizing interactions between materials and the ways
their environments act upon them.

It is important to me to reference industry standards, to implement knowledge acquired doing carpentry, masonry and
fabrication work, to research typical uses and limitations of materials I am engaging with.

My works are durational, prolonged but finite interactions between materials that mimic our experience of the poetry or gravitas of split seconds,
like the details that hinge the plot of a novel.

I consider the totality of material required to make a work, all of the pieces that get thrown away, the tools to build it.  The importance of the piece
must outweigh the waste it produces.


Each of my works addresses a scale familiar to the body, whether it is a detail easily handheld or the scale of a part of a living space. Usual,

domestic. The scale draws from intimate exchange, interactions and relationships mediated and furthered by objects shared.

By casting, fabricating or encasing I give a weight, a taste, or a texture to a moment, to a sensation or a word that would otherwise lack the

specific sensory attribute.  My work fragments the forms of language, mimicking the ways in which conversation and translation.
When its materials are soft, wet, edible, they suggest the bodily entering and exiting through the mouth that is communication. When

made elemental, iron or concrete like foundation they solidify the delicate, vacillation, decision.

I am interested in modifying the actual physical interaction with an object, holding, trapping a specific space around it. Placing it in your

hand, but it is gelatin, that it could be swallowed. Pulling your eyes to mine while your hand is challenged with the responsibility of an

unexpected weight.

Some part of the work functions or performs, does so precariously. It fights to stand still. Quietly so as to lower the volume of the room. Often

incorporating a clumsiness in its movements, in the action of attaching or installing, that displays its sincerity.