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6th Edition: Contemporary Sculpture Fulmer

Past exhibition
14 May - 1 October 2022 Off-site
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Open a larger version of the following image in a popup: Emma Hart, Red and green should never be seen, 2022
Open a larger version of the following image in a popup: Emma Hart, Red and green should never be seen, 2022
Open a larger version of the following image in a popup: Emma Hart, Red and green should never be seen, 2022
Open a larger version of the following image in a popup: Emma Hart, Red and green should never be seen, 2022
Open a larger version of the following image in a popup: Emma Hart, Red and green should never be seen, 2022

Emma Hart

Red and green should never be seen, 2022
Ceramic, chestnut wood, metal
105 x 252 x 77 cm
41 3/8 x 99 1/4 x 30 1/4 in.
Edition of 3 + 1 AP
Photo: Corey Bartle-Sanderson. Courtesy of the artist, Brooke Benington and The Sunday Painter, London
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Further images

  • (View a larger image of thumbnail 1 ) Josephine Chime, Detangling The MBS, 2021
  • (View a larger image of thumbnail 2 ) Josephine Chime, Detangling The MBS, 2021
  • (View a larger image of thumbnail 3 ) Josephine Chime, Detangling The MBS, 2021
  • (View a larger image of thumbnail 4 ) Josephine Chime, Detangling The MBS, 2021
  • (View a larger image of thumbnail 5 ) Josephine Chime, Detangling The MBS, 2021
The viewer encounters bold red fingers with black fingernails thrusting up from the ground, framing the vista behind. The artist’s meaning is ambiguous, however, as this could also be interpreted...
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The viewer encounters bold red fingers with black fingernails thrusting up from the ground, framing the vista behind. The artist’s meaning is ambiguous, however, as this could also be interpreted as a rebuff, shyness or even a despairing head in hands.


Hart’s emotional honesty aims to disrupt the smooth and seamless visual language of digital culture by injecting her real visceral experiences into the materials, allowing them to pierce our senses and unsettle, through combinations of scales and media.


In this work, the picket-like structure encourages trespass, where two hinged ceramic components are linked in an open embrace, via a chestnut wood support. One side of the work is cold painted, and the other left untreated to emphasise the heavily etched whorled surface.

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Exhibitions

6th Edition, Contemporary Sculpture Fulmer, Buckinghamshire, UK (2022)

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