Focusing on the weird outcomes of my taboos-merger, I started researching about the framework I could use to contextualise them (and hopefully expand a little more on the whole concept emerging from it). I realised that these sculptural attempts partly embodied the specifics of Biomorphism, an art movement developed between the 1920s and the ’50s that focused on the biological shapes of the artefacts evoking emotions and connections in one’s subconscious. It was very interesting to read a little more about this current, as I wasn’t aware of its existence, but yet I failed to understand (as it often happens to me) how exactly is it considered “ended”. In my view, this is a conceptual approach that many artists still utilise every now and then in their work, so can we really say Biomorphism is no longer a reality in the Art world?
Among its most famous creative members I could identify Joan Mirò, Barbara Hepworth, Henry Moore and Louise Bourgeois, but, as I was mentioning, I see a strong connection with contemporary bodies of work too. Another artist that I discovered in my research was Isamu Noguchi and his conceptual sculptures (and everything else! He was indeed quite a jack-of-all-trades).
Thinking about it, his work already crossed paths with a much younger Vivee back in the days where I used to dance for a ballet company. Among all his numerous collaborations with other artists, in fact, Noguchi also created from the 1930s several stage sets for the famous dancer and choreographer Martha Graham (whose technique was being taught to us performers in the academy). From these projects to designing playgrounds or mass-producing interior design products, Noguchi never rejected any mean of creative expression and that is something I can truly admire and partly resonate to. He created for the sake of creating. “L’art pour l’art”, as Victor Cousin would say.
On the line of organic structures with an ambiguous appeal, I also came across the Australian artist John Meade. His work might be less known than others but he still has an impressive body of work behind him, made of sculptural open interpretations and metaphorical innuendos. What especially stood out to me, however, was the harmonic merge of geometrical rigid shapes with morbid round ones and intuitively biological elements. And let’s not mention the sleekness of his artefacts, something I am always (always) fond of. Vivee’s obsessions, welcome.
Before concluding this story of inspiration, I wanted to mention one last piece of work that reflects the sculptural directions I’ve been investigating: the sculptural vessels of the ceramic artist Martha Pachon Rodriguez. Once again I was struck by the clean lines, but also by the care placed in the detailed construction of the artefacts and the rigorous repetition of patterns enhancing the boldness of the colours (although these were not necessary, in my opinion). Although more product-orientated, her creations should still be considered artworks not only due to the intense craftsmanship but also for the creativity behind them and their conceptual erotic mixture of animal features with human ones. I must say I was particularly intrigued when I read the artist’s statement and as soon as I saw the “sharp teeth” of the vases I was hooked.