top of page
MITRA FABIAN
Resistors, Capacitors, & Diodes
Once confined to the circuitry of machines, resistors, capacitors, and diodes shed their utilitarian roles and emerge as vibrant protagonists in my sculptural and two-dimensional works. These candy-colored components are reimagined not as tools of electricity, but as objects of beauty—playful, tactile, and unexpectedly expressive. Anchored in ceramic or on paper, each piece becomes a stage where technology meets artistry, and function gives way to form. In these handcrafted landscapes, digital detritus transforms into material for storytelling, inviting viewers to touch, explore, and discover the hidden poetry in our everyday electronics.

Too Close for Comfort, 2026
Hand-built & 3D printed ceramic, resistors 12 x 12 x 8 inches

Heavy is the Head II, 2026
Hand-built & 3D printed ceramic, diodes, capacitors 12 x 14 x 14 inches

Cushion, 2017
Ceramic, resistors 5 x 8 x 8 inches

Too Close for Comfort, 2026
Hand-built & 3D printed ceramic, resistors 12 x 12 x 8 inches
1/17
Plaster
These sculptures delve into the tension between organic fluidity and artificial structure, using plaster and hydro-stone as primary mediums. Rather than adhering to traditional sculptural techniques, I sought to push plaster beyond its conventional role—casting it over unexpected forms or allowing it to harden mid-pour, capturing a moment of transformation. The result is a body of work that feels more like living organisms caught in motion than inert architectural material. By juxtaposing these naturalistic shapes with elements like glitter, milled wood, and plastic, I invite a dialogue between the ephemeral and the synthetic, the visceral and the built environment.

Quad-, 2013

Quad-, detail

Heavy is the Sea of Trees, detail

Quad-, 2013
Drawings
My mark-making spans from observational renderings to gestural linework, executed in graphite, ink, and occasionally mixed media. I gravitate toward vellum for its ethereal translucency, which invites layering, erasure, and palimpsestic depth. This surface becomes a site of excavation, echoing the spatial ambiguity and material tension found in my three-dimensional constructions. Each drawing is both autonomous and interstitial—a liminal artifact that bridges the tactile and the imagined, the structural and the ephemeral. It is within this two-dimensional realm that I probe the poetics of space, material memory, and the imagination.

Tether, 2013

Roost, 2013

Outlier, 2012

Tether, 2013
Film & Plastic
Plastics are everywhere, forever, and incredibly problematic for our environment, but they also hold a particular fascination for me. These static and perfunctory materials can possess a subtle beauty that I expose through manipulation and mass accumulation. Whether a small sculpture or a room-sized installation, I subvert and transform these common synthetic materials to come alive.

Divested, 2014

Divested

Hover

Divested, 2014
Glass, Window Blinds, & Office Supplies
From lab-grade glass sculptures that shimmer with scientific precision to receipt paper installations that cascade like ephemeral waterfalls, this collection transforms the mundane into the magnificent. Office staples—binder clips, reinforcement stickers, filing tabs—are elevated from tools of order into objects of obsession, each one reimagined as a portal to the sublime. These works challenge our perception of utility, revealing unexpected beauty in the overlooked and the everyday.​

Sublimation, 2012

Burgeon, 2012

Cluster, detail

Sublimation, 2012
Tape
For years, my practice engaged deeply with the materiality of tape—those ubiquitous rolls of adhesive that occupy the margins of everyday utility. Through a sustained exploration of its physical and conceptual properties, I transformed this humble medium into sculptural forms that stood as autonomous objects while simultaneously participating in larger spatial dialogues. These works, though singular in their construction, were conceived to operate collectively, coalescing into immersive installations that interrogate notions of fragility, accumulation, and the architecture of impermanence.

Support, 2008

Support, detail

Room for Recovery, detail

Support, 2008
bottom of page