Anthea Hamilton: Ibid Projects."Figaro" is a jewelers' term for a weave of chain in which every fourth link is heavier than the others. It is also the title of a tall, thin sculpture (all works 2006) by young London artist Anthea Hamilton, consisting of four elements. A small heart-shaped locket dangles on a figaro-patterned chain; this necklace hangs from a long curved twig TWIG - Tree-Walking Instruction Generator.
A code generator language. ML-Twig is an SML/NJ variant.
["Twig Language Manual", S.W.K. Tijang, CS TR 120, Bell Labs, 1986]. . The twig is held in place by a small wad of clay attaching it to a chair leg. At the bottom, the fourth part, a metal clamp, functions like a mighty foot to visually connect the whole construction to the floor. Bottom-heavy and gradually tapering from the thick, functional clamp on the ground to the tiny, poetic heart suspended in midair, fragile Figaro is delicately balanced, perpetually on the verge On the Verge (or The Geography of Yearning) is a play written by Eric Overmyer. It makes extensive use of esoteric language and pop culture references from the late nineteenth century to 1955. of toppling over. Its fall would be buffered, however, by the expanse of small white porcelain tiles covering the gallery floor and parts of the walls.
With its gentle bend and the cheap jewel forever proffered at the top, Figaro suggests a small, quivering suitor SUITOR. One who is a party to a suit or action in court. One who is a party to an action. In its ancient sense, suitor meant one Who was bound to attend the county court, also, one who formed part of the secta. (q.v.) , tentatively offering a banal love token. It is a distinctly romantic work, and somehow figurative despite bearing no literal resemblance to the body. It might suggest a frail human figure, but also an emaciated e·ma·ci·ate
tr. & intr.v. e·ma·ci·at·ed, e·ma·ci·at·ing, e·ma·ci·ates
To make or become extremely thin, especially as a result of starvation. sapling or a piece of junk. Barely stable in its construction, it occupies the floor confidently. Similarly, Hamilton's airy, dramatic hanging sculpture Untitled (Odile) balances almost by miracle. Dangling from the ceiling like a giant Edie Sedgwick earring earring, a personal adornment, sometimes an amulet, worn attached to the ear lobe. Since prehistoric times the ear has been pierced for the insertion of the earring; certain primitive tribes distort the lobe with plugs several inches in diameter or with heavy stones. , it too reaches the floor, in this case weightlessly, on a length of coiled rope. Combining elastic, thin, curved elements and four horizontal bars, the work's emphasis is on the six billiard bil·liard
Of, relating to, or used in billiards.
Adj. 1. billiard - of or relating to billiards; "a billiard ball"; "a billiard cue"; "a billiard table" balls thickly tied to the parallel rods, which look like notes floating on a musical staff. Odile would not appear out of place in a gymnasium, looking, as it does, like a piece of specialized sports equipment--perhaps a training device for a featherlight acrobat.
Hamilton's art reflects an interest in weight and counterweight coun·ter·weight
1. A weight used as a counterbalance.
2. A force or influence equally counteracting another.
coun , the unexpected combination of materials, and the human body. Staging the gallery as a tiled bathroom--or perhaps a morgue--the artist enhances our intimate bodily proximity with her highly detailed art. Hamilton's skewed skewed
curve of a usually unimodal distribution with one tail drawn out more than the other and the median will lie above or below the mean.
skewed Epidemiology adjective Referring to an asymmetrical distribution of a population or of data figuration fig·u·ra·tion
1. The act of forming something into a particular shape.
2. A shape, form, or outline.
3. The act of representing with figures.
4. A figurative representation.
5. , mixing genders as well as human and mechanical elements, is reminiscent of Surrealism; her use of mannequins, collage, and found objects reinforces this kinship. Explicitly figurative works such as Man, built in three distinct parts--cutout wooden legs beneath a rolled-up poster forming a perfectly cylindrical torso with a mannequin's head propped at the top--seem the result of a game of Exquisite Corpse, played in three dimensions.
This is the first solo exhibition by recent Royal College of Art graduate Hamilton, and sometimes her sculptures suggest that she has not yet shed her student skin altogether. Untitled (Dance) occupies space very self-consciously, with flat objects and relief sculptures clinging shyly to the wall. However, in Hamilton's bolder works, her themes--music, the gendered body in fragments, an unprecedented mix of found and formed materials, as well as purely sculptural investigations into texture and equilibrium--result in an uncommonly delicate picture of late modernism.