Currently indexing
Untitled (Goblin boot; Serpent, Tooth I, Tooth II)
Collection:UAL Art Collection
Date: 2019
Artist: Brody Chipchase (British)
Dimensions:
Goblin boot: 22 x 52 cm;
Serpent: 13.5 x 9 cm
Tooth I & II: 20 x 13 cm
Medium: Glazed ceramic, bronze, wire, scrim, plaster
Object number: UAC 960
DescriptionBrody studied BA Sculpture at Camberwell College of Arts. Her artist's statement says:
'Through her assemblage of mystical objects and talismans, the artist has fashioned her own mythology and harbours an archive of past and future artefacts from an unknown realm, curating her own private museum collection. Giant goblin boots, offerings of teeth and bones, ceremonial pots and bronze idols are among some of the curiosities found within this world. The absurd and the more familiar come together to create a world that is mystical in every aspect yet does not appear too out of reach to the viewer. Operating from a narrative framework but withholding information in the work, allows the artist to explore narrative elements that allude to storylines and emphasize suggestiveness as opposed to providing us with a completed tale. Artefacts are positioned in conversation with one another, with each object possessing a mysticism of its own which can only be changed through curating new conversations with different objects. As a viewer you’re invited to look at these artefacts and reassemble them in your own mind. They present themselves as props to be played with, and like props they act as signifiers to a larger world.'
'Through her assemblage of mystical objects and talismans, the artist has fashioned her own mythology and harbours an archive of past and future artefacts from an unknown realm, curating her own private museum collection. Giant goblin boots, offerings of teeth and bones, ceremonial pots and bronze idols are among some of the curiosities found within this world. The absurd and the more familiar come together to create a world that is mystical in every aspect yet does not appear too out of reach to the viewer. Operating from a narrative framework but withholding information in the work, allows the artist to explore narrative elements that allude to storylines and emphasize suggestiveness as opposed to providing us with a completed tale. Artefacts are positioned in conversation with one another, with each object possessing a mysticism of its own which can only be changed through curating new conversations with different objects. As a viewer you’re invited to look at these artefacts and reassemble them in your own mind. They present themselves as props to be played with, and like props they act as signifiers to a larger world.'