Tongue - by Fiona Campbell (Britain)
Reclaimed and found materials: fabric, old clothes died with avocado pits, foam, sponge, copper wire, steel, wax, twine, blankets, duvets, pillows, cushion, towels, wool, leather, plastic, rubber, thread, 330 cm (l) x 158 cm (h) x 135 cm (w). 2019.
Fiona : "Flesh, organ, waste, body, violence : The huge sculptural tongue, fragile and exposed, activates its space. Revealing the labour and handmade nature of it, Tongue is like a big wounded body, a vulnerable softness juxtaposed against the hardness of its prop, repulsive but seductive.
‘The labour-intensive process of my work - weaving, wrapping, sewing - is a form of suturing, a cathartic healing, an attempt to repair in response to world destruction.’
Tongue confronts uncomfortable topics. It may offend but more importantly, it raises questions - are we all offenders given the state of our world today ?"
Photo Credit : Tchad Findlay
Treating line as object, Fiona's work blurs boundaries of drawing, sculpture and installation. At the root is the notion of interconnectedness throughout nature, life’s cyclical persistence and transformation. Environmental concerns about human exploitation of nature and over-consumption inform the content. Her use of recycled and found materials relates to our relationship with matter, nature, and ourselves.
Materiality and process are central to her practice; the work is hand-made and labour-intensive. Collecting and transforming materials, there is a cathartic attempt to repair.
Fiona : "Flesh, organ, waste, body, violence : The huge sculptural tongue, fragile and exposed, activates its space. Revealing the labour and handmade nature of it, Tongue is like a big wounded body, a vulnerable softness juxtaposed against the hardness of its prop, repulsive but seductive.
‘The labour-intensive process of my work - weaving, wrapping, sewing - is a form of suturing, a cathartic healing, an attempt to repair in response to world destruction.’
Tongue confronts uncomfortable topics. It may offend but more importantly, it raises questions - are we all offenders given the state of our world today ?"
Photo Credit : Tchad Findlay
Treating line as object, Fiona's work blurs boundaries of drawing, sculpture and installation. At the root is the notion of interconnectedness throughout nature, life’s cyclical persistence and transformation. Environmental concerns about human exploitation of nature and over-consumption inform the content. Her use of recycled and found materials relates to our relationship with matter, nature, and ourselves.
Materiality and process are central to her practice; the work is hand-made and labour-intensive. Collecting and transforming materials, there is a cathartic attempt to repair.
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Tongue - by Fiona Campbell (Britain)
Reclaimed and found materials: fabric, old clothes died with avocado pits, foam, sponge, copper wire, steel, wax, twine, blankets, duvets, pillows, cushion, towels, wool, leather, plastic, rubber, thread, 330 cm (l) x 158 cm (h) x 135 cm (w). 2019.
Fiona : "Flesh, organ, waste, body, violence : The huge sculptural tongue, fragile and exposed, activates its space. Revealing the labour and handmade nature of it, Tongue is like a big wounded body, a vulnerable softness juxtaposed against the hardness of its prop, repulsive but seductive.
‘The labour-intensive process of my work - weaving, wrapping, sewing - is a form of suturing, a cathartic healing, an attempt to repair in response to world destruction.’
Tongue confronts uncomfortable topics. It may offend but more importantly, it raises questions - are we all offenders given the state of our world today ?"
Photo Credit : Tchad Findlay
Treating line as object, Fiona's work blurs boundaries of drawing, sculpture and installation. At the root is the notion of interconnectedness throughout nature, life’s cyclical persistence and transformation. Environmental concerns about human exploitation of nature and over-consumption inform the content. Her use of recycled and found materials relates to our relationship with matter, nature, and ourselves.
Materiality and process are central to her practice; the work is hand-made and labour-intensive. Collecting and transforming materials, there is a cathartic attempt to repair.
Fiona : "Flesh, organ, waste, body, violence : The huge sculptural tongue, fragile and exposed, activates its space. Revealing the labour and handmade nature of it, Tongue is like a big wounded body, a vulnerable softness juxtaposed against the hardness of its prop, repulsive but seductive.
‘The labour-intensive process of my work - weaving, wrapping, sewing - is a form of suturing, a cathartic healing, an attempt to repair in response to world destruction.’
Tongue confronts uncomfortable topics. It may offend but more importantly, it raises questions - are we all offenders given the state of our world today ?"
Photo Credit : Tchad Findlay
Treating line as object, Fiona's work blurs boundaries of drawing, sculpture and installation. At the root is the notion of interconnectedness throughout nature, life’s cyclical persistence and transformation. Environmental concerns about human exploitation of nature and over-consumption inform the content. Her use of recycled and found materials relates to our relationship with matter, nature, and ourselves.
Materiality and process are central to her practice; the work is hand-made and labour-intensive. Collecting and transforming materials, there is a cathartic attempt to repair.
Ref:
Date:
Location:
Photographer:
Main Gallery
Tongue - by Fiona Campbell (Britain)
Reclaimed and found materials: fabric, old clothes died with avocado pits, foam, sponge, copper wire, steel, wax, twine, blankets, duvets, pillows, cushion, towels, wool, leather, plastic, rubber, thread, 330 cm (l) x 158 cm (h) x 135 cm (w). 2019.
Fiona : "Flesh, organ, waste, body, violence : The huge sculptural tongue, fragile and exposed, activates its space. Revealing the labour and handmade nature of it, Tongue is like a big wounded body, a vulnerable softness juxtaposed against the hardness of its prop, repulsive but seductive.
‘The labour-intensive process of my work - weaving, wrapping, sewing - is a form of suturing, a cathartic healing, an attempt to repair in response to world destruction.’
Tongue confronts uncomfortable topics. It may offend but more importantly, it raises questions - are we all offenders given the state of our world today ?"
Photo Credit : Tchad Findlay
Treating line as object, Fiona's work blurs boundaries of drawing, sculpture and installation. At the root is the notion of interconnectedness throughout nature, life’s cyclical persistence and transformation. Environmental concerns about human exploitation of nature and over-consumption inform the content. Her use of recycled and found materials relates to our relationship with matter, nature, and ourselves.
Materiality and process are central to her practice; the work is hand-made and labour-intensive. Collecting and transforming materials, there is a cathartic attempt to repair.
Fiona : "Flesh, organ, waste, body, violence : The huge sculptural tongue, fragile and exposed, activates its space. Revealing the labour and handmade nature of it, Tongue is like a big wounded body, a vulnerable softness juxtaposed against the hardness of its prop, repulsive but seductive.
‘The labour-intensive process of my work - weaving, wrapping, sewing - is a form of suturing, a cathartic healing, an attempt to repair in response to world destruction.’
Tongue confronts uncomfortable topics. It may offend but more importantly, it raises questions - are we all offenders given the state of our world today ?"
Photo Credit : Tchad Findlay
Treating line as object, Fiona's work blurs boundaries of drawing, sculpture and installation. At the root is the notion of interconnectedness throughout nature, life’s cyclical persistence and transformation. Environmental concerns about human exploitation of nature and over-consumption inform the content. Her use of recycled and found materials relates to our relationship with matter, nature, and ourselves.
Materiality and process are central to her practice; the work is hand-made and labour-intensive. Collecting and transforming materials, there is a cathartic attempt to repair.
Ref:
Date:
Location:
Photographer: