Mark Manders’s ongoing ‘self-portrait as a building’ is an ever-expanding body of sculptures, installations, and architectural plans that frame his psychological and narrative exploration within a monumental tradition. Fractured, half-crumbling, and fallen heavily on their sides, Manders’ evocative sculptures appear like the ancient ruins of an Olympian temple, unfinished fragments of deities from the past or future. The artist primarily works in cast bronze, treating the durable material to look like unfired clay. Paradoxically ephemeral and ancient, Manders’ sculptures create poetic moments of history — like Enlightenment follies, his ambiguous ruins are entirely contemporary, and yet give the viewer access to a vast scale of time.