Prints

Limited edition prints are on their way to London. Having just come out of a FINE ART MA I’m having trouble with accepting frames but I understand that some venues or private homes require a ‘frame’ for the work. In literature we have a ‘frame narrative’ that encompasses other narratives. Perhaps this is the same for art: that despite the frame, the work has its own layers of narrative?

The heart

If my heart skips a beat

It’s because it’s in your hand

Or dancing

To catch the rhythm of your pulse

That breathes in a waltz in my ear.

If my heart skips a beat it’s because

It’s up in your eyes

And the warmth of your mouth.

If my heart skips a beat, a beat, a beat.

If my heart skips a beat

It’s because there exists

A flush of my love

In your deep crimson heat.

New poem

If love was wild

If love was wild

It would be a wolf

Hunting and howling and

Ravenous as the dark.

Run.

Dominance, masquerading as

Leadership, will soon

Bite at your heels until you

Fall, while strong jaws will

Take you by the throat

And shake you out like a

Tablecloth or an old handbag,

Breathe hotly on your neck

And sniff you out until

There is nothing but a trail of

You

In the snow.

If love was tame

It would be a dog

Faithful and loyal and

Warm in your bed

But always a descendent of

The wolf.

Materials and process

I have been exploring Zulu bead symbolism and the layers of identity in my birth country of South Africa. It has been an almost ritualistic process and highly rewarding. It will be combined with several other layers of process in order to convey some of the implications of colonialism and some of the more subtle invasions like the Victorian botanical garden.

Beginning with the bead work, I had to move to a loom to ensure the work had a more professional finish and was able to properly convey the skill of the Zulu women in my home town of Durban. It was interesting how the beads, like Victorian floriogrpahy had a symbolic value for courtship and ritual communing.

Next I needed to combine this with flower symbolism and the embroidery craft of the victorians by using circular wooden frames and images I had created of flower centres. In particular the popular rose, lily and tulip flowers.

Mindy Lee and Susan Sluglett, Blyth Gallery, Imperial Arts College, London. I

knocking knees copy

https://mindylee.me/

Presented in White: For Dorothy

http://www.susansluglett.com/

Mindy Lee’s title for her works ‘Birth and the Baby Game’ for the exhibition ‘Bodies Undone’, held in the Blyth Gallery, Imperial Arts College, London is possibly as loaded as the exhibition name itself. For most mothers who have experienced birth and babies, they are aware that ‘game’ is clearly ironic and a useful pun suggesting fun but challenge. Or perhaps it is the mind undone, for the game certainly begins there and the mind is after all connected to the body. If the mind or consciousness is removed, if the body is ‘undone’ from its frame, from its skin packaging, then how does it all hang? Birth and babies affect the body physically and mentally. There is ‘hardware’ and ‘software’ involved in this game. So the viewer must ask themselves: ‘What is the body when it is not entirely ours, connected with umbilical cords, almost parasitically; through DNA and genetic labyrinths? Here in this space of creation, two is one and one is two.

In Mindy Lee’s fabric paintings, the fabric represents this paradigm of two as one. It is the fabric of the body, of nerves and tissues and fibres. Thus the stitching is symbolically connecting these bodies and these parts, as the two fight to be one or indeed to be separate. The clothing from Lee’s actual pregnancy creates a nostalgic umbilical cord, a fabric or fabricated link.  In another way, the clothing, in the act of becoming an artwork, ‘preserves’ the momento, much like mothers who keep their baby’s tag or umbilical cord etc. The process of motherhood and domesticity becomes part of the creative process, which for parents of small children cannot be separated out. The profession cannot be separate from the maternal role: sometimes there remains a feeling of either beautiful symbiosis and at other times parasitism. But lets be honest, childbirth and procreation are in themselves the elemental and most original form of creation.

The other work that caught my attention in the show because of my own recent revival in my own drawing practice, was the charcoal hand gestures of Susan Sluglett. They are a visual exploration of the hand in process, as well as communication. Just as the hand draws lines and erases, so is there a sense of movement in the drawings through the erasing of sections and then drawing on top of this. The smudging becomes a shadow of time. It reminded me of the work of William Kentridge but with signs rather than narrative. The rough lines and working are reminiscent of the artistic process of testing and working with the materials. The way the hands are finished off is not entirely like that of traditional figure drawing studies. They are cut off by a line which makes it appear almost sculptural and connotes a whole new level to the concept of the ‘body undone’. These are not hands, they are gestures, signs, gloves, amputations even – a visual language in line.

© bianca hendicott