My last post described a recent visit to Yorkshire Sculpture Park. Some of the sculptures displayed there can be seen in traditional galleries while others are to be found in the open air, in a magnificent parkland landscape of hills, woodland, lakes and formal gardens. The undoubted highlight of our visit was Beyond, a temporary exhibition by celebrated Portuguese artist Joana Vasconcelos (b. 1971).
Here’s how the Park’s website describes Joana’s work:
Joana Vasconcelos creates vibrant, often monumental sculpture, using fabric, needlework and crochet alongside everyday objects from saucepans to wheel hubs. She frequently uses items associated with domestic work and craft to comment from a feminist perspective on national and collective identity, cultural tradition and women’s roles in society
Sounds a bit wild and wacky, doesn’t it? I’m happy to say that the exhibition fully lived up to its billing. Joana Vasconcelos’ creations are amazing, a true delight in a year that’s been painfully grim.
There was an early indication of what to expect as we drove up to the car park: a multi-coloured rooster towering nine metres above startled visitors. It’s called Pop Galo [Pop Rooster] and is inspired by the Barcelos Rooster (aka the Portuguese Rooster.)
I’ve never been to Portugal and the legend of the Barcelos Rooster had therefore passed me by, but research for this post tells me that it’s regarded as the embodiment of the Portuguese spirit and love for life. Always vividly coloured, the Barcelos Rooster is a cultural icon and the unofficial symbol of the nation.
In Portugal the Barcelos Rooster is traditionally rendered as a colourful piece of pottery. Vasconcelos has fashioned hers from no fewer than 17,000 glazed tiles, creating a monumental and unforgettable artwork. Stunning!
And while we’re on the subject of monumental artwork, Solitário [Solitaire], is also pretty damned impressive. Standing seven metres high, it comprises golden car wheel rims topped with a huge diamond crafted from crystal whisky glasses, all fashioned into a stridently ostentatious engagement ring.
The website explains that Solitaire shouldn’t be seen as a blingy blot on the landscape but is, rather, a piece of caustic commentary on modern societal values. It says: “representing the stereotypical ambition of our society to acquire wealth and material possessions, the work unites symbols of luxury – cars, jewellery and alcohol – which bridge social classes.” So now we know!
Joana Vasconselos was born in Paris but lives in Lisbon, and trained initially as a jeweller before becoming a sculptor. The change of direction has enabled her to develop her craftsmanship on an altogether grander scale. In her world big is most definitely beautiful, whether outdoors or in.
And moving along to one of the indoor galleries, another of Vasconcelos’ startling pieces is Marilyn, a pair of oversized silver stilettos made entirely from hundreds of stainless steel saucepans.
The work’s title references Marilyn Monroe and is, in the words of the website, “[a commentary] on social conventions [highlighting] the division between women’s traditional domestic and contemporary public roles.”
Another work to be seen in one of the indoor galleries is Red Independent Heart #3, based on the Heart of Viana, a well-known Portuguese emblem symbolising life, love, friendship, honesty and generosity. It stands over three metres high and hangs from the ceiling, slowly rotating. As it turns, expressive and melancholy Portuguese fado songs play in the background, speaking of love, loss and the conflict between emotion and reason.
The piece is made entirely from red plastic cutlery which have been shaped and manipulated until its individual components are barely recognisable.
I’m not sure how I feel about plastic sculptures – there’s way too much plastic in the world already. But let’s give Vasconcelos the benefit of the doubt, and assume the thousands of items making up her Red Independent Heart are recycled cutlery that were otherwise destined for the nearest dump.
Plastic features in another of the works that make up the Beyond exhibition. At four metres high, Tutti Frutti dominates views of the landscape in which it sits. It’s made from plastic moulds of apples, pears, strawberries and croissants – all suspended from a stainless steel frame. Portuguese children apparently use these moulds at the beach to make a local version of sandcastles.
Tutti Frutti is one of those sculptures that can’t fail to raise a smile – who can resist such garishly whimsical frivolity? But beneath it all is a serious message about modern society’s tendency towards overindulgence and superficiality. The artist proclaims that the seductive moulds beguile and captivate unwary onlookers, who fail to spot the hollowness at their heart.
Of course cynics might argue that this is a metaphor for all of Joana Vasconcelos’ work, but I say “to hell with cynics!”
And finally, take a look at I’ll Be Your Mirror. Standing over three metres high and composed of countless elegantly-shaped mirrors, this work presents the classic Venetian mask as we’ve never imagined it before.
Masks have traditionally offered a hiding place, and never more so than in this year of Covid-19. We all wear masks at the supermarket these days, and behind each I see someone just like me, lying low and hiding from the virus. Mirrors, mirrors, everywhere…
Joana Vasconcelos’ work will not be to everyone’s taste. Indeed you may find it crass, pretentious or even banal – this reviewer for one was clearly unimpressed.
I will admit that her sculptures don’t magically reveal the meaning of life. But for god’s sake, they’re fun aren’t they? And don’t we all need a bit of fun in these dark, dark days? For me these monumental pieces are genuinely joyful, they have a “wow factor” and – if you so choose – they can make you think about stuff in a slightly different way.
If this is art, then give me more. Joana Vasconcelos, you are beyond amazing.