Objects for an Uncertain World, Jenny Pope at Patriothall Gallery, 19-27 November 2016.
Jenny Pope’s recent solo exhibition at Patriothall Gallery flowed through two rooms. The front gallery displayed recent drawings and sculptures exploring the dynamics between safety, comfort, and restriction, in personal space. The rear gallery displayed four installations of porcelain sculptures from recent years.
Personal spaces
Nests, bags, containers, traps … These sculptures explore the tension between security and containment. ‘In a while you will feel fine - bag’ welcomes the exhibition visitor, drawing them to the sumptuous mouth of this sleeping bag, like an unsuspecting fish, while its pendulous body/stomach cautions against climbing in. Pope tells me it is named after the text on Norwegian Airlines’ sickbags …
That’s not what I mean
The rear wall of the first gallery displays a collection of 50 maquettes which ‘explore what it means to define our own personal space’. Pope’s title – ‘That’s not what I mean’ – highlights the personal context of these spaces created out of fabric, especially felt, but also wires, pins, and paper. Cosy spaces, scary spaces, safe spaces, traps.
Physically, it seems to me to be a particularly autumnal feeling, to wrap up in soft, warm fabrics, creating comfy nests that we can’t really do much in, but are difficult to leave; like lobster pots – inviting to climb into, but … Maybe preferences for the comfort and stability of home are incompatible with exciting adventures beyond …
But Pope’s explorations of personal space grow from the harsher context of psychiatric hospital wards, where her advocacy work makes her aware of patients’ limited control over their own personal space. Safety becomes containment and restriction, while privacy and protection are primary concerns of female patients on mixed wards. Pope sees the maquettes as ‘3-D doodles’.
Last week I’d also been surprised and confused by retrogressive government plans to increase censorship, but read one comment on social media in support: the poster felt the Government were protecting her moral values. Pope’s forms – these contested personal spaces – provided another way for me to begin to understand the contemporary divergence of our political (and cultural) views.
Seepage 2008 and 2016
In the rear gallery were four installations (collections) of porcelain sculptures. In half of these, colour was explored as process; ink seeps through porcelain shapes; Pope: ‘I am seeking colour in the material, not on it’. The ‘Seepage’ bags, like many of the pieces in the first gallery, resemble internal organs (stomachs), but also ancient containers for water or wine. Or maybe the ghosts of haggis. According to Pope, these are inspired by another facet of hospital life – anaesthetists.
Erosion Pools 2015
‘Erosion Pools’ are handsome objects, like slowly hollowed pebbles or fine Eastern bowls, inspired by the flow of water through sedimentary rocks; meditative and sophisticated.
Seed Bank 2015
For the Objects for an Uncertain World show, these porcelain pieces have been hung in a gentle two-dimensional grid against a grey wall. This new incarnation brings shadows into the centre of the work, as well as the possibility to inspect each wee shape individually. Every one beautiful; every one unique. Having seen photos of the Broomhill installation – outside and in bright sunlight – I was a bit disappointed. This lacked some joie de vivre. However, as I began to think about seed banks I wondered if the two installations reflected the two characteristics of seeds – the seed-life, encased and dormant, and the potential plant emerging to find the sun.
Pope says she has ‘really enjoyed the interesting conversations I have had as people are intrigued and inspired by the work’.
Jenny Pope studied at Edinburgh College of Art (BA Ceramics, MA Sculpture) and has a studio at WASPS, Albion Road. She practises both art and mental health work.—Review by Ella Taylor-Smith