Fitzhugh Karol
Truckin’

November 20, 2025 – February 1, 2026
114 Wolcott Street, Brooklyn
Entrance / Red Hook

Entrance is pleased to present Truckin’, a solo exhibition by Fitzhugh Karol bringing together the artist’s ceramic wall reliefs, paper collages, wooden landscapes, and monumental steel sculpture.Installed across the space’s newly renovated shipping container gallery and outdoor sculpture garden, the exhibition charts Karol’s sustained investigation into landscape as both physical form and narrative vessel, a place where material, myth, and observation converge.

The exhibition at Entrance / Red Hook coincides with the installation of Karol’s companion sculpture Recess: Reads (2022) which was recently installed at Union Square Park in Manhattan, presented in partnership with Union Square Partnership and NYC Parks. Together, the two works extend Karol’s investigation into public space, form, and interaction across New York’s urban landscape.

In the outdoor sculpture garden, Recess: Truckin’ Lounge anchors the exhibition in a different scale and register. Originally designed for a public library in Oklahoma, the large steel sculpture takes its bi-fold form from the shape of an open book. Its bright color and mid-century geometry create what Karol describes as “visual gravity,” a pull toward interaction and play. Angled planes and circular portals invite viewers to lean, climb, or peer through, blurring the line between sculpture and architecture, viewing and inhabiting. The work embodies Karol’s interest in creating spaces for gathering and curiosity, places holding both contemplation and movement.

At the center of the exhibition are Karol’s large-scale ceramic murals, terracotta works depicting abstracted topographies populated by wandering figures. In First Gods and Giants (2022), an eight-foot ceramic landscape renders scenes from Norse creation mythology. The frozen fog of Nilfheim, the flames of Muspelheim, and the infinite pit of Ginungagap swirl into existence. Ymir the frost giant emerges alongside an ice cow. Gods are born from underarms and footsteps. Violence gives way to new worlds. Karol sources his narrative from D’Aulaires’ Book of Norse Myths, translating its elemental drama into tactile clay relief. The terracotta surface becomes both page and place, a stage where myth is enacted through form.

Alongside it, works like Moonvies Hillscape III (2025) and Mesa Docia (2025) continue the vocabulary of landscape as story, though the narratives remain ambiguous. Horizons curve and fold, figures move across ridgelines, and brass frames isolate worlds through windows or portals. The ceramics function as compressed geographies, alluding to the ancient and speculative, drawn from memory and invention in equal measure. Karol’s hand is evident throughout. The clay holds the trace of his gestures, the weight of his tooling, the rhythm of his building process while depicting moments of myth.

Across materials Karol returns to the language of landscape not as static backdrop but as active form. His surfaces are topographies to be read, climbed, or imagined into. The exhibition’s indoor works feel intimate and enveloping, while the outdoor steel sculpture opens outward, framing views and inviting passages. Together, proposing landscape as a site of both mythological and material encounter.

The Governor’s Island collages (2017) offer another kind of mapping. Created during Karol’s residency on the island in New York Harbor, these paper works trace the silhouettes of ships and vessels observed during his commute. The shapes reference sculptures he was developing at the time, collapsing the distance between observation, abstraction, and object. In shades of blue, grey, and navy, the collages are both nautical and architectural, blueprints for forms existing somewhere between the real and the proposed.

Fitzhugh Karol is a sculptor based in Brooklyn, New York working in wood, ceramic, steel, and paper. Karol is inspired by profiles found in nature, landscapes both observed and imagined, as well as by the inherent characteristics of the materials he uses.

Karol works in large scale steel for public and private outdoor installations usually consisting of two bisecting planes, creating a conversation between contrasting profiles. These steel works have portals and nooks inviting physical interaction from the viewer. Large wood works create immersive experiences and ceramic wall reliefs are a form of storytelling.

His work has been exhibited at Art on Paper, SCOPE Miami, the Tang Teaching Museum, LongHouse Reserve, VOLTA and the Long Island Museum. His large steel sculptures have been installed publicly in Prospect Park, Tappen Park, Socrates Sculpture Park, DUMBO Brooklyn, Amagansett Square, Australia’s Sculpture by the Sea, and at the Governor Mario M. Cuomo Bridge’s Rockland Landing. His work is included in private collections in Colorado, New York, New Jersey, Connecticut, South Carolina and Virginia.

For inquiries, email info@entrance.nyc