The current, high-profile, sexual
predator cases are incidental to Sally Barker’s work but the resonances ring
clear.
Deliberately provocative and inevitable disquieting, Barker’s work
challenges the viewer to consider the role assumed by some powerful men in a
patriarchal society. A role often
re-enforced by women willing or manipulated to take part: mostly they are the silent acceptor,
accommodator pleaser...
Barker’s use of the man’s “power suit”, an expression coined in the 80’s
for women’s clothing to enable female competition in a predominantly man’s
world, has an obvious but no less powerful presence in her work. Many a scorned woman must have cut and
destroyed erring partners’ lounge suits but Barker’s autopsy like process lays
bare the bones of its destruction and in doing so opens the unyielding under
belly of the wearer. Add to this the
ceramic, latex and wire interventions; we become entwined in an accusational,
visual language which not only speaks to our intellect but whispers to our hearts.
One particular piece stands on the floor on four wire legs. Its movement echoes the swagger of
power. “Breasted Predator” is the
remains of a dark jacket once all the flat fabric is cut away, leaving the lapels,
seams and pockets exposed. The naked, skin
coloured pockets hang uncomfortably in the centre of the piece weighed by casts
of breasts discernible through the fabric – one tucked in each pocket. In a different setting these would resemble udders
but the material, process and adjacent pieces leave no doubt to the intent of
this raw expression of titillation, of objectifying women.
Barker’s work is developing and with the introduction of ceramic pieces
reminiscent of black, gritty hearts forcing their way through pastel pink
glazes, it promises to be as provocative and as disquieting as her work so
far.
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| detail "Bulging Forms" |
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"Breasted Predator"
men's suit lapels, wire, pins, plaster of paris
120 x 120 x 100 cm
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| detail “Breasted Predator” |
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"black heart form 2"
glazed ceramic
approx 10 x 15 x 5 cm
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