Look at this! Sarah Lucas, Gareth Brookes

Last week two very different art forms evoked similar responses in me: cringe, fascination, laughter, discomfort as well as leaving lasting impressions.
Sarah Lucas and Gareth Brookes  address our obsession with the physical stuff of sex with all its lack of grace and leakage.

8d1afbb1f662ded5_sarah-lucas-1As we awkwardly navigated our way around Sarah Lucas’s SITUATION Absolute Beach Man Rubble at the Whitechapel Gallery it was as if she was accompanying us, her self portrait photographs lending the exhibition an autobiographical aspect.
the-black-project-01-gareth-brookes-myriad

Gareth Brookes has produced a graphic novel, The Black Project, (Myriad Editions, 2013)  The imagery throughout is from embroidered pieces and lino cut prints. It is an unsettling story, presented as fiction that also suggests being informed by autobiography.

In Lucas’s work there is a sense of the immediate – the throwaway laddish gestures and the jokes. We recognize these and as we walk around the show, we are perhaps reminded of the relentlessness of the innuendos and signs that surround us in our world, as in this exhibition.
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Brookes’ work is the story of an adolescent boy, Richard, grappling with his burgeoning sexual urges, through the disturbingly painstaking making of dolls – sex dolls. He experiments to create vaginas for each doll that he can put his penis into as he lies on top of her, so it will feel as he imagines it ought to. It is this last facet that makes the book so brilliantly excrutiating. He takes pairs of his mother’s tights and fills them with old socks to form the doll’s legs. He does not consider the objects as dolls but as his girlfriends. He talks to them each night. They are objects though. Lucas also has pieces made from stuffed tights. Near the entrance is a polyurethane resin toilet bowl on a plinth with a stuffed tights sculpture alongside. The human ness of the reference to piles of excrement or intestines is obvious but it is also a nod to Marcel Duchamp and Louise Bourgeois. Sited at the entrance to the space, it contextualizes the exhibition.

Sarah-Lucas

Lucas has created sex dolls too. Objects. I might be shy but I’m still a pig (2000) is two hams connected with a pair of knickers and positioned with all their oozing traces on a mattress.  We read it as a human woman and as a piece of meat. We humans really are animals aren’t we. We secrete, we issue discharge, it’s what we do, never more than during sex. And it’s all so unbearable and funny. The ham legs could easily have appeared in Brookes’ Richard’s experiments if he’d had access to ham, instead he is limited to the stuff he finds in his grandad’s shed, bits of rubber tubing, some false teeth, a lady’s wig!

Both Lucas and Brookes make use of the obvious and the throwaway. Lucas turns everyday objects into phallic symbols and Brookes reminds us that many of us will have made our own dolls or guys, it’s not as odd as it may appear. No more than the strange rituals around bonfire night. My favourite part of his book is…*skip this bit if you haven’t read the book* when Richard’s father discovers his latest “girlfriend” doll under his bed and Richard explains it as an entry for the school guy competition. His doll wins and Richard, devastated, feigns delight at watching her burn at the stake.

Included in Lucas’s exhibition are cement-based pieces, castes of the stuffed tights  from cement and also from bronze. The quick and obvious gestures become more fixed, produced with a slower deliberation and process. Cement benches are formed from square panels. Within each panel, marks of the natural setting of the cement are visible, in this context they become stains. We may react to sex with quick throwaway comments and jokes, yet there are ingrained attitudes to sex at work within our cultural institutions, rigid and hard, like cement.

Throughout The Black Project one cannot help but be distracted by the amount of time Brookes has put into stitching and printing to create the artwork for this book. It is a book of process, slow and ongoing…like the process of growing up.

As I walked around the Lucas show, I heard some art students discuss with world weary cynicism how really Lucas has overdone all this sort of thing now. I didn’t butt in, but I didn’t agree as I looked at an enormous photo collage, of what looked like a pizza base covering one wall. Superimposed on top were little balls made from photos of end-of-penises. This is the earliest work in the show, 1989…ages ago…but how often are penises of any kind seen in public art galleries? yet so many art exhibitions have breasts or vaginas lurking about somewhere.

Both unmissable!

Sarah Lucas
SITUATION Absolute Beach Man Rubble
2 October-15 December 2013
Whitechapel Gallery

Gareth Brookes
The Black Project
Myriad Editions, 2013
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Look at this! British Ceramics Biennial

Stoke-on-Trent is the home to the now empty Spode factory. It was once the heart of the British ceramic manufacturing industry and driving through the rather forlorn centre the brown signs to Emma Bridgewater and Wedgewood catch the eye. We followed the brown signs to the ‘Cultural Quarter’ and arrived at….Debenhams.

Spode was one of the two largest potteries in Staffordshire and the huge, factory is currently host to the third British Ceramics Biennial. In 2008, the factory was closed. The workers were ushered from the factory, leaving their belongings behind. The contents of the factory were left.

epps brick

The vast China Hall was the central focus of the Biennial. Here, in the Ibstock Brick Pavilion, artist Lawrence Epps‘ office workers made into brick blocks were stacked for the audience to take. The pile was depleted, echoing the historical decimation of the British manufacturing potteries industry so pertinent to the site. Epps was filming the activity.

We were visiting to see Topographies of the Obsolete: Vociferous Void which was  in a separate part of the Spode site. It is a site-specific research project, a collaboration between partner universities and institutions in Denmark, Germany and the UK and included the work of fellow post methodist artist, Danica Maier.
danica

British Ceramics Biennial
Stoke-on-Trent, England
28 Sept until 10 Nov 2013
britishceramicsbiennial.com

Look at this! John Plowman

In 2010, John made new work for Beacon Art Project’s exhibition Profusion at Calke Abbey in Derbyshire. It was made for the saw pit in the grounds of Calke Abbey. The texts were collected over years from snippets John heard on the radio or read whilst working in his studio. Jumbled up in the saw pit it was a bit like the inside or our heads, where ideas we’ve come across compete with one another.

John Plowman tpdgbttm, 2010
After de-installation, the wooden texts were left, like ideas are left in our brains, to breath and flourish. Recently, John developed the work, now exhibited outside the Chapel in Wellingore. The wooden planks and texts – weathered, cut and re-positioned, have merged and connected to one another, the way ideas should, to form a new narrative and meaning.

jp

jpdetail