Curator Lauren Fournier characterizes Zoë Schneider’s sculptural practice as “lushly material, often working with materials like rocks, denim, sand, dough, rhinestones, gemstones, spandex, and foam to create imaginative sculptures that could be described as delicate maximalism.” Made of foam and denim, Schneider’s Adipose series (2016) continues to explore the sumptuous interplay of materials. Activating the haptic senses, the Adipose sculptures are composed of foam oozing out of amorphous denim mounds as a metaphor for the physical, emotional, and psychological complexities of fatness. By exploring discourses around fatness and fat-positive feminisms through textiles, Schneider offers us a physicality that translates to embodied affect as one begins to feel the constricting stiffness of the denim pinching their own bodies. The denim can also be read as a critique of a wider systemic problem—the constant policing of women’s bodies and the stigmatization of fat women in particular. “Varying in shape and size and having playfully populated the gallery, Schneider’s sculptures,” continues Fournier, “resist being relegated to any straightforward notion of objectification: while appearing as static, sculptural objects, on closer look, the foam appears to move ever so slowly, affirming agency and exceeding those definitions that have been projected onto them.”