Funky-Looking People

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“If all 10 of us could talk, we would be saying what have you done to us why have some of us got eyes, nose, eyebrows, and a mouth and legs, while the rest of us have to speak with our eyes.” – D.

These ‘funky-looking people’ were created by participants on the ‘Express Yourself’ art and writing course I am running at Hafan Y Coed Mental Health unit. We worked with air-drying clay to create small sculptures inspired by Anthony Gormley’s Field, 1991 (35,000 individual terracotta figures sculpted in Mexico by members of a Texca family of brickmakers, under the supervision of the artist). Our seven families of ten figurines are to be exhibited in the HeARTh Gallery as part of the celebrations to mark 70 years of the NHS.

The clay, sensitised by touch and made conscious by being given eyes, everyone agreed  developed individual personalities when shaped into the little people. Participants wrote a piece to accompany the sculptures, imagining what they might say if they could speak:

“I’m tall and slender, seeming alone, yet not for me, solitude. My frog-like eyes look up to the skies” – K

“No two of us are the same. All individuals.” – C

“One big family.” – G

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Objects That Speak: BayArt Exhibition

‘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.

 

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Lois William’s wall of objects of various media: From Afar

 

 

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.

 

 

 

 

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Mary Husted’s Off the Page: Askance

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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.

 

Awkward Objects: The Work of Alina Szapocznikow

This weekend, I travelled to Wakefield to see Human Landscapes the first UK retrospective of the work of the much-overlooked Polish artist Alina Szapocznikow (1926–1973). Powerful, innovative, disturbing, these pieces have dark undertones, which isn’t surprising when you discover that Szapocznikow survived several of the Nazi camps as a teenager, and bouts of severe illness. Her sculptures were born out of trauma, expressing it obliquely for those who could not, while at the same time being an extraordinary affirmation and expression of life and female experience.

Image result for alina szapocznikow        Image result for Alina Szapocznikow in 1968, photo Roger Gain

She emerged as an artist from the Soviet sanctioning in 1950s Prague, educated originally as a classical sculptor in Paris, rapidly moving into semi-abstract, amorphous forms: huge, organic sculptures,  such as ‘Bird’ and ‘Maria Magdalena’. Later, she began using her own body, and that of friends to make casts of body parts, including a particularly poignant full body cast of Pietr, her son. Long haired and naked he lies at a diagonal, suspended in space, recalling the dead Christ in Mary’s arms.

Semi-abstract sculptures from bronze, concrete and iron.

Through casts of the human body, I attempt to preserve in translucent polystyrene the ephemeral moments of life, its paradoxes and its absurdity. (…) I am convinced that among all manifestations of impermanence, the human body is the most fragile. It is the sole source of all joy, all pain and all truth, and this thanks to its ontological poverty, which is as inevitable as it is (at the conscious level) absolutely unacceptable.

 

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Photographs set in polyester resin

Her work centres around the fragmented body; like many post-war artists, she has an acute awareness of the fragility of the body. Bowls of breasts recall Lee Miller’s critique of female objectification in Severed Breast from Radical Mastectomy, the 1930 photograph she composed after observing a friend’s mastectomy. I was also reminded of the work of Eva Hesse, known for her pioneering work in materials such as latex, fiberglass, and plastics. Dynamic but mysterious erotic themes are an element shared with Louise Bourgeois for example in her Unconscious Landscape, 1967-68.

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“Dessert III”, 1971, dyed polyester, porcelain vase.

 

 

Drawings and monotypes.

Sculptures using polyester resin and polyurethane.

The essence of Szapoczikow’s work seemed to lie in the search for completeness that she could only express through fragmentation and abstract juxtapositions. Her feeling that: “The fleeting moment, the trivial moment – these are the only symbols of our earthly existence”.

In the final room of the show, we see at close quarters Szapocznikow’s sculptural manifestations of her body’s invasion by cancerous tumours. Even in her final months, she continued to find innovative ways to express the reality of her experiences. “Recalling the broken statuary of fallen civilisations, Tumours Personified (1971) is the artist’s attempt to own the illness, with a scattering of head-size lumps, bearing her own face.” – Skye Sherwin

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I produce awkward objects. This absurd and compulsive mania proves the existence of an unknown, secret gland, necessary for life. Yes, this mania can be reduced to a single gesture within reach of us all. But this gesture is sufficient unto itself , it is the confirmation of our human presence.

My work is difficult as sensation that is felt in a very immediate and diffuse way is often resistant to identification. Often everything is all mixed up, the situation is ambiguous, and sensory limits are erased.

Nothing is definitive in my work. If not the immediate pleasure of feeling the material, of touching and palpating the distinct material of the mud as children do on a riverbank.

_ Alina Szapocnikow, 1972

 

Upcoming Exhibition and Workshop

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Georgina Peach and I are running an Expressive Drawing Workshop on Sunday 22nd as part of the fabulous madeinroath festival – see here for details. Expect scrunched up paper, paint flicking, drawing with eyes closed, and other fun ways of drawing/not-drawing.

 

“Expressive, or automatic drawing was used by the Surrealists to express the subconscious using any technique that eliminates conscious control and replaces it with chance. No drawing skills required, just a chance to experiment with lines and marks to create bold and dynamic work. Drawing from instinct and feelings, rather than formal technique, without the pressure to create something recognizable can be very freeing.”

For the annual Made in Roath Open Exhibition, held this year at The Gate Arts Centre, I’II be exhibiting a triptych of small automatic paintings made spontaneously using a technique called sgraffito. Exhibition runs from 15th – 22nd October.

 

Night of the Winged Fox

Night of the Winged Fox

House of the Winged Fox

In the House of the Winged Fox

Offering to the Winged Fox I

Offering to the Winged Fox I

Winged Fox Triptych – acrylic, each 20x20cm

 

 

Through the Paper Window

Lea Sautin, who is also a member of Cardiff Print Workshop, has an upcoming exhibition at Theatre Mwldan in Aberteifi, Ceredigion. Lea’s work explores the themes of language, translation and perpetual transformation within the storytelling tradition of Wales. She is fascinated by the evolution of the ancient tales of the Mabinogion, from their fluid oral and performative origins to a fixed written manuscript, eventually leading to illustrations of the tales told in their own unique visual language. Lea uses a chain of processes (print to sculpture to photography) to reflect the evolution and alteration of the stories themselves.

I’m looking forward to seeing Lea’s exhibition, which opens 29th April until 18th June.

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Lea Sautin’s sculptures

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