Not for the faint of heart, Tony Oursler's bizarro sculptural creatures are trippy in the extreme. 

Imagine a monster the size of a small child, hissing at you from the corner of a gallery. Before you can run screaming from this blob-like horror, you’re entranced by the stream of nonsensical words dripping with the sound “sssss” emanating from the freaky form.

This green demon is typical of Tony Oursler, who's famous for projecting weird faces onto sculptures.  Thisssssss is no excsssseption.

An S-shaped sculpture standing almost four feet tall, Slip has a swervy mouth across its center, and an eye at either end of the "S".  The eyes move independently from one another as the lips wiggle, lick, smile, and whissssper. As you notice the cartoonish eyelashes and the wavy, playful grin, the face seduces you closer, almost against your will.

If it gets too intense, remember: you can always pull the plug, and poof!….Slip will slip away.

So THIS is what it looks like when Greedo and Eraserhead make a baby! Or when Tony Oursler pops out one of his signature creepy sculptures.

This fiberglass sculpture, complete with sound and video, will have you flabbergasted and slightly revolted – always a good combination for art. A reverse "S" shape that looks kind of spermy and snakey at the same time, it emits long hissing sounds in the midst of a totally gibberish conversation.

In the body of this strange amoeba-like creature is a mouth that moves and talks total nonsense, and the glances of a lubricated tongue between the sagging, warped teeth make this look more and more like a visitor from outer space. The visual drama caused by the slightly moist, drooping mouth is totally abject yet fascinating. Its floppiness harkens back to surrealist savant Salvador Dali’s famous melting clocks. This is bizarro stoner art at its finest.

The two eyes at either end of the form suggest that there is some conversation at play. Though neither of the eyes look all too interested in what the sinister mouth is saying. The mouth, in fact, seems to extend the emotional distance between the two eyes with its form and its absurd babble. With the clever placement and expressions of these disconnected body parts, Oursler takes the alien object to another degree of alienation within itself. As if the poor thing didn’t have troubles enough already…