Dimensions: displayed: 1382 x 437 x 430 mm
Copyright: © Sarah Lucas | CC-BY-NC-ND 4.0 DEED, Photo: Tate
Curator: Sarah Lucas' "NUD CYCLADIC 10" immediately strikes me as a body in repose, perhaps burdened by the weight of its own form. Editor: I see that too, but I'm more fascinated by the juxtaposition of materials; the soft, almost fleshy form contrasts sharply with the brutal concrete block beneath. It speaks volumes about the deconstruction of traditional sculpture. Curator: Absolutely, the title itself points towards the Cycladic, those ancient Greek idols, stripped down to their most essential forms. Lucas echoes that reduction, but with a distinctly modern, even confrontational edge. The knot-like figure seems to represent vulnerability, but also resilience. Editor: The way the artist uses basic materials, stuffing and concrete, challenges our notions of value and artistic skill. It's not about masterful carving, but about the act of making, the labor involved, and what it says about contemporary life. Curator: Indeed, it is a compelling statement about the female form and how it is perceived. Editor: I'll be pondering the artist's intention behind such unusual material usage for quite some time.
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NUD CYCLADIC 10, along with NUD CYCLADIC 3 (Tate T13451) and NUD CYCLADIC 6 (Tate T13453), is one of a series of sculptures made in 2010 by Sarah Lucas collectively referred to as NUDS. Each is made from tan nylon tights stuffed with pale-coloured fluff and twisted into an ambiguous, biomorphic form, resting on top of a plinth made from breezeblocks stacked on a wooden base. The sheer nylon tubes, contorted into looped and knotted forms are at once suggestive of fleshy body parts and smooth mottled marble. While the shapes evoke limbs and orifices, it is not possible to fix the forms to a single figurative referent: the suggestion of one body part dissolves as the hint of another emerges.