No Center No Above No Below

Ernesto Burgos's first solo exhibition with Fernberger introduces a new body of cast bronze sculptures alongside ambitious wall-based works, exploring permanence and continual reinterpretation. About Fernberger is pleased to present No Center No Above No Below, the first solo exhibition by Ernesto Burgos with the gallery and the inaugural exhibition of its Fall 2026 season. On view from September 18 through November 7, 2026, the exhibition introduces a new body of cast bronze sculptures alongside Burgos's most ambitious wall-based works to date. Bronze has long served as sculpture's material of permanence, preserving forms against time and conferring upon them the authority of the enduring object. In Burgos's hands, permanence ceases to function as a guarantee of fixity. Instead, it becomes the condition through which continual reinterpretation is made possible. Originating not in clay or wax but in provisional constructions of cardboard, wood, and metal armatures, the bronze sculptures retain the evidence of their own making. Their translation into bronze does not erase the contingencies of process, but preserves them, collapsing the distinction between model and monument. The sculptures occupy an unusual temporal register: they remain visibly experimental while assuming the permanence traditionally reserved for finished form. The wall works provide the conceptual ground from which these sculptures emerge. If they investigate movement through forms that appear to resist gravity, the bronzes accept physical weight without surrendering their dynamism. Installed in the round, they continually reorganize themselves through the viewer's movement, their silhouettes and internal relationships shifting with every change in vantage point. The object itself contains the conditions for its own continual reinterpretation. This indeterminacy is not confined to form. Burgos's works resist definitive readings not because they are unresolved, but because they refuse to exhaust themselves in a single encounter. Each return unsettles the memory of the previous one, producing the sensation of a work that has subtly transformed despite remaining physically unchanged. The sculptures endure, yet they continually exceed the viewer's recollection of them. Language follows the same logic. Burgos frequently titles his works with arcane or seldom-used words that require translation or etymological excavation before yielding their meanings. Rather than anchoring interpretation, the titles defer it, extending into language the same openness that structures the sculptures themselves. The title of the exhibition, pulled from Mexican Nobel Laureate Octavio Paz's poem Spaces, further serves to illustrate this concept of spatial boundlessness. Burgos's engagement with bronze ultimately reconfigures one of sculpture's oldest assumptions. Permanence is no longer opposed to change, nor does it guarantee stable meaning. It becomes the very condition that allows meaning to remain in motion. The lasting work is not the one that fixes interpretation, but the one that continues to generate it. Marking Burgos's first solo exhibition with Fernberger, No Center No Above No Below builds upon a longstanding dialogue between the artist and gallerist. Burgos previously participated in the group exhibition Burgos, Falardeau, Goodroad (2025), making this presentation a natural continuation of that relationship. Read more Toggle Sculpture