Jennifer Ramsay: Laid Bare, 2018-2020
In my recent work, I wanted to see if I could represent a physical expression of an emotional state, stripping back to the core essentials- flayed and visceral. During this work, I started developing a method of sculpting with various clays, which I tinted with oxides and used as if they were thick oil paints. A method of drawing and sculpting simultaneously.
A physical interpretation of the extent to which we as humans, animals, and nature can withstand abuse while having no means of defense, no means of protest, no voice. At what point does this silently tip over the edge? Imagery drawn from the Old Masters oil paintings of hunting scenes, the ripping of prey by dogs or dogs ripped by prey or by each other. The overall concept is to attempt to draw attention to the voiceless.
Stretch I & II
The physical representation of a feeling of complete freedom and immersion in that moment, that sensation -the pleasure of the ultimate stretch.
This is a two-part sculpture—two creatures in an ambiguous ritual in which they could be fighting, mating, or both. This work deals with dominance and submission not only in the animal world but also in humans.
This sculpture is made up almost entirely of thrown elements using red clay covered in red glaze. Using huge ribbons of flowing interwoven clay, this work is based on love and the power it can hold. The all-encompassing, totally engulfing, sometimes crushing, suffocating, and the overwhelming weight of love.
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