![]() It references her interest in French dramatist Antonin Artaud’s idea of the ‘body without organs’, a device aimed at unsettling perceptions of the autonomous unity of human subjects. The sundered or absent torso is an important motif in Steyn’s sculptural work, first introduced in her patinated bronze sculptures from 2014. Steyn's busy exhibition programme over the course of 2015–16 enabled her to refine her tropical psychosurrealist vision, which is dominated by naked bathers, pigtailed adolescents and macabre feminine figures with missing torsos. Four more solo exhibitions, two apiece in London and Cape Town, followed in quick succession. Rendered in multiple, she appeared as both a flattened figure on a two-dimensional plane and as a ‘fleshed out’ – if insistently unrefined - sculpted form. The show introduced viewers to Steyn’s cartoonish doppelgänger with yellow hair, interchangeably worn in pigtails or flowing. The exhibition comprised five drawings, three paintings on unstretched linen and four sculptures, two of them made from clay. In 2014 Marlene Steyn held her debut solo exhibition, ‘How Cannibals Cuddle’, at Cabin Gallery in South London. ![]() ![]() Image courtesy of the artist Marlene Steyn - Why I CreateĮxploring the inspirations and attitudes of artists working with clay and ceramic, featured in Vitamin C
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |