I consider my drawings to be sculptures because they are built and my sculptures to be drawings because they are linear, gestural and have to do with mark making and placement. In all my work I am concerned with the hand—what is held and what is felt; with hidden-ness and exposure; with randomness, accidents and precise and deliberate orderings. I use repetition as a means of moving through space, and I appropriate natural objects such as peach pits, peanuts, lima beans, and cherry pits, which are seeds or contained essences with the potential for growth or transformation. Their incorporation in my work, however, negates this very possibility. I use needle and thread to capture, control and isolate, and I also leave them to dangle. Loose ends are an invitation to relatedness.

Cyrilla Mozenter is a New York artist working in drawing and sculpture. She has been using organic materials in her work for many years. Currently her primary materials are industrial wool felt and handmade paper. Her work constitutes a symbolic language while also incorporating letters, words and text. She makes frequent reference to the writings of Gertrude Stein, with whom she feels to be in collaboration. Solo exhibitions include warm snow: Sculpture in Two and Three Dimensions at Garrison Art Center (Garrison, NY), warm snow at Adam Baumgold Gallery (NY), More saints seen at The Aldrich Contemporary Art Museum (Ridgefield, CT), Cuts and Occasions at Dieu Donné Papermill (NY), Very well saint at The Drawing Center (NY), Undercurrent at Espaço Cultural Municipal Sérgio Porto (Rio de Janeiro), and Secret Ears at the Brooklyn Academy of Music (Brooklyn, NY).   She has received two fellowships from the New York Foundation for the Arts and two project grants from The Fifth Floor Foundation. Her work is in numerous public collections including the Brooklyn Museum and the Yale University Art Gallery.