Carol Bove, Roman a Clef (2018) (detail). © Carol Bove. Courtesy the artist and David Zwirner, New York/London/Hong Kong.
On a snowy day in March, all sorts of things are happening in Carol Bove’s studio. An assistant in a white Tyvek suit is stripping down a sculpture – one of the seven lively blue forms that stood like an abstract family outside the Swiss Pavilion in Venice during the 2017 art biennale. Another is welding a huge steel tube, which seems to have writhed into submission, crushed and doubled up on itself.