‘In my studio I work surrounded by things: wire which reminds me of hair, real hair and synthetic; horse- hair, sheep’s wool. Muslin, felt, rope paper: all sorts really. These are works in their early stages, works halfway made, works abandoned and left for a while. Very occasionally, in a cleaned-up space there is a final, finished work attached to a wall, or attached to the floor, or attached to the ceiling.’ – Lois Williams
Exhibition at BayArt by Lois William and Mary Husted. Both artists share an interest in the land and landscape, and a feeling for fragility, tonal range and layering as process and meaning. Mary Husted’s work is strongly located within drawing, while Lois Williams’ incorporates installation, sculpture, as well as drawing.
I particularly liked Lois’ wall of objects of a wabi sabi nature, seemingly rooted in the Welsh landscape. Some of the objects the artist has shaped into hive or nest-like structures, some being of a found quality. They are intriguing and totemic, each with a story, often with echoes of myth, yet also seeming to ‘speak’ to each other across the installation.
I was also drawn to Mary Husted’s boxes containing sometimes a single item such as a feather or collage, and mirrors that refracted them into different forms. The experience of having to peer into the enclosed space evoked a sense of the curiosity of childhood, contemplation of the nature of perception and reality/illusion in interior landscapes.
Below: Mary Husted’s triptych ‘But for a day’, with interior views.
Mary Husted’s Off the Page mixed media collection, and below: Winter book (Chinese folding book).
“My work on the Open Books project has brought me in touch with artists from very different traditions. From the Chinese I have learned a new understanding of positive and negative space and a reverence for the accidental mark. This has fed into my own work and helped me to develop what I call the calligraphy of the ‘found’ or ‘given’ mark. Many of these marks are rubbings from the natural environment. Fragments of these together with drawn ‘made’ marks are combined to roam across pages to hint at rather than to depict the world around me.” – Mary Husted
Lois William’s enigmatic collection of water colours on paper ‘The Dog, the rat’, brought to mind the chance markings of Rebecca Horn in her book ‘Tailleur du Coeur’, a body of etchings sometimes rendered in coffee and wine accompanied by sixteen short texts that seem to describe some sensual encounter between objects and/or body parts and the world beyond.