Lake of Field 1990

Editor: We're looking at "Lake of Field," a mixed-media assemblage created by Lenore Tawney in 1990. It features a wooden box, a ceramic hand, and other found objects. There's a real sense of surrealism and mystery here. What do you see in this piece, particularly concerning the relationship between the materials she chose? Curator: Tawney's work often plays with contrasting materials and textures to create a dialogue about identity and containment. Notice the reclaimed wooden box, likely once used for commercial purposes – the word "MUSTARD" is printed on it. Then, the delicate ceramic hand emerging from a lid covered in what appear to be dark, sharp pins. Does this strike you as violent? Eerie? What do you make of it? Editor: I think it feels unsettling. The box could represent imposed structures or societal expectations, and the hand could symbolize someone trying to break free, even though it’s clearly stuck in a painful position. Curator: Precisely. Considering Tawney’s interest in weaving and fibre art – traditionally feminized crafts – this piece could also be interpreted as a feminist statement. The hand, a symbol of creativity and action, is trapped, resisting constraints imposed on women's expression. Is the assemblage about an overcoming, a defiance, a negotiation? Or an entrapment, despite the ceramic hand emerging into the scene? Editor: That gives me a whole new perspective. I hadn't connected the hand to the artist's own creative practice and potential struggles with artistic constraints. It adds another layer of meaning to the materials used, seeing them less as random objects and more as intentional symbols. Curator: Exactly! Art has this power: objects, even commonplace items, can transcend their origins to convey potent social and personal narratives. And your insights certainly enhance my own thinking about this work. Editor: It's fascinating how bringing together these different viewpoints unlocks richer understanding of the work.