Muse Sculpture

STATEMENT ...an idea of shared descent, to whatever extent real or imagined, seems universally to be the most potent basis for communal solidarity. Social and Cultural Anthropology: a very short introduction/ Monaghan and Just (p.101)Oxford University Press An Anthropology of Kind I draw on associations and inspirations derived from hybrid influences, natural history and world culture. My work is an imaginary anthropology put forward through paintings, sculptures and drawings as artefacts. The anthropological notion has grown out of a consideration for and fascination with the idea of what constitutes the sacred. The work is in consideration of humankind's apparent dislocation from nature. The sculptures, deal with an aspect of intimacy, that of the domestic accumulation of useful objects. I acquire, collect and conserve these items in their new status as discarded and redundant. They exist in a potential state in which a former vitality can undergo a transformation. As in Totem I often make use of the bilateral symmetry inherent in objects used by people to reflect the embedded anthropic vision that permeates society. The paintings are created as pictorial equations. Classical origins of landscape are part of the myth and folklore I explore and Lincolnshire's continuous horizon serves as a vehicle for the expression of a universal ideal. The microcosms of the Altar paintings are intended as fields within which botanical and zoological forms codify the terms of creation myths. The Sacred Protogram line drawings were conceived as complete spatial entities. They form signifiers of habitat, a basic lexicon for the construction of the relationship between space and self. Each entity of the "alphabet" is archetypal and entire, as in the Old English halig, holy, synonymous with Latin sacrum, (sacred) the space immediately surrounding classical Roman temples, set apart for the priest. Digitally originated they are intended to be projected to any scale on vertical, horizontal and otherwise - orientated surfaces. JW. OCT 28. 2010 BIOGRAPHY Born and brought up in Leicester, U.K. and the surrounding countryside, the more formal aspects of her artistic education were adopted as a result of spending a decade of practice in Florence, Italy, where she studied painting . During her residence there an awareness of the sacred as part of the every day came to be first evidenced as an aspect of her work.