Helen Pynor: Liquid Ground
Conceived from her research into the numerous recorded cases of accidental drowning in london’s thames river,
Australian artist Helen Pynor has created ‘Liquid Ground’, a series of large-scale photographs which capture
various water-buoyed garments expelling human organs from within its floating form. simultaneously haunting and surreal,
the unexpected injection of internal organs into an otherwise dreamy underwater scene results in a collection of images
that is arresting in both a visual and visceral manner.
Pynor explores new ways in which we can relate to our body’s makeup by rejecting the celebration of gore and horror but drawing from both personal and cultural stories. utilizing phantom forms, the notion of the human body is approached in a highly sensitive and emotional manner despite the morbidity of the subject matter.
via Design Boom
Helen Pynor gained a BSc (Hons) in Biology at Macquarie University majoring in cellular and molecular biology, a BVA at Sydney College of the Arts, The University of Sydney majoring in photography, sculpture and installation, and a PhD at Sydney College of the Arts, The University of Sydney. In her doctoral thesis, she sought the reconciliation of materialist understandings of the human body with understandings of the body as a culturally-constructed entity, a theme she continues to explore.
Pynor draws extensively from the writings of scientists as well as philosophers of biology, in addition to working with scientists in both collaborative and consultative roles. Her practice is integrally tied to a questioning of the philosophical and material status of human and non-human organisms. (via)
Drawings by Olivia Knapp
Olivia Knapp’s intricate hand drawn pen and ink style is influenced by European line engravings of decorative relief and scientific specimens from the 16th to 18th centuries. Her tight cross hatching technique involves long slow and steady curved lines that articulate the surface contours of her subjects; creating supple and tangible imagery. These un-swelled lines incorporate a “line to dot” rendering method as well as an, extremely rare “dot and lozenge” rendering method. “Dot and lozenge” is a practice that was used by 16th century masters, in which a dot is placed in the center of a diamond shape made by a cross hatching pattern, helping to refine the transition between values.
Most of Olivia’s content explores the relationship between desire, reason, and circumstance. Her current body of work uses the head and heart as contrasting characters in an on going story.
What’s the first step in coping with a stressful or anxious experience? Breathing deeply.
The act is therapeutic. Inhale, then exhale, and a natural calm creeps in. Nerves settle down. Clear-headedness pervades. But just how powerful is this seemingly casual exercise? Artist Ruby Rumié would say incredibly so—so powerful, in fact, that she used the technique to help 100 Colombian women overcome the pain of domestic abuse, encouraging them to release their suffering into ceramic pots. (Time for a deep breath.) Her moving exhibit HÁLITO DIVINO—DIVINE BREATH at Nohra Haime Galleryis on view Sept. 10-Oct. 18, 2014.
The women, who range in age from 18 to 72, all have two things in common: they hail from Rumié’s native Cartagena de Indias, Columbia, and they’ve suffered greatly at the hands of callous men. Nothing can reverse a betrayal so intimate as domestic abuse. Nothing can undo it. But through art and personal reflection, Rumié aims to help these women heal and rise above. She crafted 100 white ceramic pots, one for each chosen victim, and in a series of communal exercizes—involving discussion circles and therapy—had them channel all the angst and dark emotions surrounding their abuse—pain, fear, regret, shame, distrust—and “exhale” them into the vessels. What were once simple clay pots suddenly become prisons for pain, and, in turn, liberation for former victims. “Divine breath,” indeed.
Once sealed and marked with each participants initials, the pots aided the women in letting go of the internal burdens associated with their suffering. Upon completion, each woman recieved a trinket female figurine of their choosing, made using traditional lost-wax methods.
32 of the charged pots are displayed during Rumié’s exhibit HÁLITO DIVINO—DIVINE BREATH, ornamented with intricate, golden metal designs that reflect the women whose pain they contain. A reception will be held on Tuesday, Sept. 9, from 6-8 p.m.
The beauty of the pots is undeniable. More beautiful yet is the personal healing that they helped bring about.via