In hang in there, Carl D'Alvia continues his exploration of the playful contradictions inherent within form and materiality, crafting a sculpture that blurs the lines between seriousness and humor, reality and surrealism. Designed specifically to hang on the side of a plinth, the piece challenges traditional sculpture placement and further accentuates its whimsical nature. Enveloped in textural "feathers" rendered in a captivating interplay of black and blue, the sculpture evokes the fleeting shimmer of a bird's wing caught in motion, momentarily revealing subtle brilliance as it passes by.

D'Alvia's approach consistently complicates traditional assumptions, intertwining irony and sincerity, solidity and softness. True to his distinctive practice, the surface of hang in there is meticulously detailed, embodying textures reminiscent of organic plumage yet realized through methods rooted firmly in historical sculptural traditions. His choice of enduring materials, such as marble and bronze, situates his work within a lineage that spans the exuberance of Italian Baroque and the elegant reductionism of Brancusi. Yet, by juxtaposing these traditions with humorous and ambiguous forms, D'Alvia subverts expectations, inviting viewers into a tactile and visual dialogue.

As in his broader oeuvre, hang in there manifests a tangible personality—ambiguous in exact identification, yet undeniably expressive. It is simultaneously whimsical and poignant, embodying the emotional complexities and paradoxes D'Alvia finds so compelling. Through these contradictions, hang in there offers not only visual delight but a deeper contemplation on the very nature of perception, emotion, and material transformation.