Aloysisus’s semi-figurative works often wear tattered old garments that gesture towards notions of feminine identity the eternal bride, the old bird, the painted lady. We might quickly surmise that they are a riposte to the cock-sure monumentalism of sculptures hewn and erected by men: all those giant embodiments of machismo that populate our plazas and museums are rendered absurd, faltering, unbalanced. Their subversive intelligence chips away at a more recent layer of art history too: they stand in contrapuntal relationship to the virile residues of (mostly male) postminimal artists from the 1970s onwards. In these new works, the scattering and binding of materials speaks not of testosterone fueled action (as it often did to an earlier generation), but of a compulsion to use extant objects as queues for new forms. It is action born of responsibility, desire and attentiveness.
Doubt is a generative force, and it unravels these objects quickly. They look like figures, but are they not also in many
ways abstract? Are those scrubby dabs of paint part of the found objects or later additions? What is the significance of
Aloysius observations and engagements with the built environment and its detritus? Is that rip, that rupture, not
somewhat obscene? Named after terms for women in boorish everyday language Bird, Bag, Angel they live up to their
names by donning garbs of grubby silk voile, concrete ballet shoes and broken tiaras. If monumentalism and masculine
sculpture is inverted here, so too are these wearisome clichés of femininity. Such a concatenation pre-empts deeply
embedded ways of looking: the anthropomorphic eye that makes abstract forms human, and the priapic eye that
Linda Aloysius is in her final year of a practice led PhD at Goldsmiths College. Her work was selected by Phyllida Barlow
for the Creekside Open at APT Gallery, London last year; She also showed in 2011 alongside Matt Calderwood, Angela
de la Cruz, Alexis Harding, Ana Prada, Paul Harrison and John Wood. Other recent exhibitions include at Sir John
Soanes Museum, London and the Centre for Contemporary Culture, Barcelona.
15 March – 28 April
Visit the artist’s gallery page.
137 Whitecross Street
and Play House Yard
+ 44 (0)207 4903667
Misty Ericson holds a BA in English & Comparative Literature from San Jose State University, California, and an MA History of Art from University of Leeds, UK. In addition to her work on HerCircleEzine.com, which she founded in 2005, Misty enjoys painting in her studio and restoring her home in the English countryside.