NEWS


- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -


Phoebe Collings-James | Choke on Your Tongue


Phoebe Collings-James Choke on Your Tongue


January 19th – February 1st
Italian Cultural Institute London, 39 Belgrave Square, SW1X 8NX, London

ARTIST TALK with Sir Norman Rosenthal
Monday, January 19th, 6:30pm

PRIVATE VIEW
Monday, January 19th, 7:30-9:30pm

For free booking and info:
http://www.icilondon.esteri.it/IIC_Londra/webform/SchedaEvento.aspx?id=1397&citta=Londra
or RSVP to margherita@artuner.com

During the summer of 2014 English artist Phoebe Collings-James took part in NUOVE // Residency, a residency program sited in the Bassano del Grappa region of Italy that teaches young international artists the skills to produce new work in ceramic. On the occasion of Choke On Your Tongue, the Italian Cultural Institute and Artuner are delighted to present for the first time in London this new body of work.

The title of the show expands on a series of drawings the artist conceived four years ago, a statement Collings-James has maintained to describe the feelings of frustration held within both her personal life and work as an artist at that time. It exists as a proclamation, a suffocated desire of a kept expression. Through the presented painting and sculpture the artist seeks to develop this feeling centered on her continued investigation into language, communication and sexuality.

Collings-James engages ceramic with notions of ‘orality’, manifesting itself in a consideration of distinct outlines. Punctured masses, phallic shapes and cavities that seemingly jet ‘sausages’, creates a potent sexual tension within the show space. The artist explores a sense of repression, confinement and suffocation through her fixation of the mouth, using the gaping holes in many of the works metaphorically as a subjugated voice. Often these voids are aggressive, almost violently conceived, creating a powerful feeling of stress and confusion.

The artist seeks to reference Lancanian notions of the castrated woman as being a ‘hole not a whole,’ offering her audience something tangibly oppositional. Collings-James’ work is deliberately outward, it exists to occupy space with a sensuality that is both confrontational and heard. In doing so the artist encourages us to reconsider oppressive expressions of control that we attach and assume to our sexual-selves.

These narratives can also be read within the artists painting; reactionary work that Collings-James attributes to the desensitized patriarchal nature of contemporary life. Using her feet to construct the image, Collings-James seeks to reintroduce a sense of corporeality; using the erogenous zones of her body she realizes the personal is political, reminding her audience the artist is still very much present in the work.

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

 
Adamastor Inc © 2017