Life is a cool thing. Its funny, not everything is meant to be known to you as you go about life’s lessons, maybe if they were, we would be too cerebral about learning, maybe you have to take things in through the osmosis of the emotions, the brain, the body, so that you really know and evolve fully.
The last year has been a truly great year for me in my studio. It has been a bit like a year off to totally indulge in myself as an artist. No exhibitions to look forward to, no projects (promises, but nothing on the table), just me everyday in my studio pushing my boundaries. This year Mike got the projects and at the beginning of the year, he gave me a hug and said, go for it Shona, this year is mine for projects, get into your studio and stretch yourself. So I did what I have never really done before, consciously sought the inspiration that spoke to me most. I dug out books and photos of Cycladic art, visited museums and allowed the work to directly affect me, working directly in the style of its art forms. The work is very simple and plain, oddly proportioned and broad open surfaces. I love these works because they are deeply spiritual and related to the deepest emotions of human beings, the desires for longevity, fertility, protection, abundance. Cycladic works in their utter simplicity, speak to the spirit of mankind through the essence of the art form, not distracted by the beauty of physical reality, not clever or cerebral, but rustic, always speaking to the unformed world of the soul. This work has always attracted me, but I did not know why, until I allowed myself the time to work in it. At first my whole attention was not to copy, but to be influenced by it so that I could reinvent the work. But you can’t do this work in an objective way. It is not form for form’s sake. You have to partake and my woman vessel forms, became not just beautiful forms, but forms that embody abundance, fertility, the cycle of life. They carry the true wisdom of life. And my sculptures are heavily reflective of the Cycladic works, not reinvented at all, because they didn’t need to be, it was more important for me to be true to the spirit in the works, invest them with the essence of life’s desires.
This period of my work has made me understand more fully, what I am searching for in art and it’s why I have also always been attracted to Etruscan art, and some African art. It’s seeking the essence and embodying it in form. I have always been able to see very well, and it is a distraction, as the human form is beautiful, and it constantly calls me back to itself, the unconscious regard for proportion and visual beauty always wanting to take over from the essence of the work. When you look at early Etruscan art, you get work that has complete disregard for proportion, sometimes a deliberate decision to make the body very long, the arms and legs very short and the head a square, even the surfaces are uneven and roughly hewn, but it is a devotional piece, so the work is not about human beauty but about human essence. The work can be really austere, but the work haunts you, disturbing you and attracting you. You need that in art because it is not satisfactory to be beautiful alone, or to play a clever mind trick with you, or tell you a story. You need the recognition of yourself as a spiritual being.
Throughout history there have been the great masters who bring their art alive and somehow embody the spirit, the physical and the mind into a whole. That, for me is the ultimate in art; to capture it all without rules, to maintain the freedom of the artist to create, but to give it all to us, so that we resonate with the whole truth.