拟人化花瓶,希腊雅典,Clementine Keith-Roach

在雅典生活期间,艺术家Clementine Keith-Roach遇到了许多独特的拟人化花瓶,这些花瓶激发了她用粘土和铸造来创作瓮,探索女性的形体。
花瓶的曲线似乎表明它们是女性化的,在keithach的作品中呈现出双重的女性特征。这些作品是用独特的方法组合而成的;凯奇-罗奇塑造她自己和她身边的女人的乳房,然后把石膏模型的半身像转移到粘土容器上。每一个奇特的拟人花瓶都是对女性身体和经历的独特研究;以一种个人和政治的方式融合主体和客体。尽管逐渐走向平等,但在21世纪,女性的身体仍然不是她自己的。很少有人能看到一个女人的乳房被如此逼真地表现出来,Keith-Roach使用的错觉效果使得乳房在Instagram这样的平台上可见,而真正的女性乳头通常会因为存在而被禁止。

Whilst living in Athens, artist Clementine Keith-Roach encountered a unique number of anthropomorphic vases—these inspired her to work with clay and casting, creating urns that explore the female form.
Urns, with curves that seem to declare them feminine, are rendered dually so in the work of Keith-Roach. These works are created using a unique combination of methods; Keith-Roach moulding her own breasts and those of women close to her, and then transferring the plaster cast busts onto clay vessels. Each of the strangely anthropomorphic vases is a unique study of the female body and experience; merging subject and object in a way that feels personal and political. Despite gradual movement towards equality, in the 21st century, a woman’s body is still not her own. Rarely would one see a woman’s breasts illustrated with such physicality, the trompe l’oeil effects employed by Keith-Roach have rendered breasts visible on platforms like Instagram, where real female nipples would usually find themselves banned for simply existing.

Author: Clementine Keith-Roach
Photography: © Clementine Keith-Roach

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