Evaluation of Shendi's Mother & Child Exhibit.
After well over a weeks overwhelming anticipation, yesterday evening at 4:00PM, I walked through the doors of the Civic, stepped into the lift and travelled up to the gallery, where I entered the environment where Shendi's exciting exhibit was being held. Ah, the benefits of being invited privately, the night before an exhibit opens its doors to the rest of society. Delightful, no? "Well, what are some of these benefits??" I hear you say, allow me to enlighten you...There's the peace and quiet, an air of privilege and sophistication is contained within the space, being surrounded by a few close individuals-family and friends-and guests-such as I.
Complimentary hot and cold drinks, were being served throughout the event-of which I indulged in myself(!) The evening served as a superb opportunity to collect some primary research content, without having to squeeze my way through flocks of half interested sheep. Not to mention that I could focus on photographing each piece from a variety of angles, ranging from macro and full sculpture shots. Without a stray limb or head in the way. There was the added bonus that the artist himself was there-in person!
From the perspective of layout, I feel that the exhibit was balanced and spacious-with the installation designer, giving great consideration into the matter, that viewers would actually want to take photos of Shendi's work, without the persistent concern of: "Oh, am I going to knock whatever is behind me over?"
The balance between wall mounted photographs being monochromatic and the sculptures being chromatic, is a refined and well combining contrast. Perhaps the developmental photographs were shot in black and white, because they reflect that they were taken during the construction process-and in comparison to the presently completed sculpture, these images are now a part of Shendi's artistic history-captured for an silent eternity being frozen in time.
In terms of the sculptures themselves, I am practically head over heels for them. My reasons for this passionate infatuation is because, Shendi, has represented one of the most ancient concepts know to humanity in a colourful and abstract from. Yet he has not lost the messages each sculpture conveys-be it positive, neutral or negative, instead each sculpture is a powerful testament individual and multiple aspects of motherhood and the raising of offspring.
Also Shendi's work appeals to my feminist side-often in art mother hood is portrayed in sexual, graphic or fetishized forms and Shendi has interpreted motherhood in a way that doesn't objectify, graphically represent, or overly sexualise women as mothers. My hat goes off to you, good sir, for remembering that women in art, are not just limited to being objects, defined by their unjustified representation.
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