Alice (Garbs) Garbett

Within my work anxiety is represented as a physical form, using the qualities of different materials as metaphors for a wide range of emotions. The chain mail are sculptures within their own right; however, they have also been used as illustrative props within my performative work.

My sculptural practice has adapted from working with clay, into a wider exploration of materials such as fabric and paper; the use of alternative materials has allowed me to fully realise my sculptural ideas.
The absorbency of fabric and the delicate nature of paper mimic the strong, heavy and brittle qualities of clay. All of these characteristics are representative of the feelings of fragility, unsubstantiality and uselessness weaved within anxiety.

Ill fit for purpose, I have used these contradictory materials and sculpted them into fragile and futile armours, nullifying their utility, the works then become oxymoronic metaphors.
Traditionally thought of as an item of safety and protection in battle, chain mail was chosen to be a visual metaphor for my fight to feel safe and at ease again. The looped and knotted sculptural forms I produce are inspired by the patterns and links within traditional chain mail.
 
My pieces are constructed to work through and analyse personal experiences and emotions, as self-biographical pieces are key to my artistic practice. My photography situates itself between self-portraiture and tableau photography.
The images are portraying snapshots of everyday life, as if the viewer is a fly on the wall. These are purposely recognisable common scenarios and situations, plain and monotonous enough to be relatable to every viewer; even though the work comes from a personal experience, it is illustrative of a universally common human condition.
 
Eating, washing or doing chores whilst wearing such delicate or heavy sculptural pieces is logistically very difficult! I’m hoping the viewer can see the funny side of these scenarios, just as I have. I wanted my work to have a humorous level to it, as finding the funny side of things has helped me through tough times.
The photos are subtly linked with the use of yellow objects. This was initially coincidental; I then chose to continue the theme through the work, due to the association of ‘hope’ the colour yellow suggests.

My practice this semester has been heavily influenced by the ceramic artist Cecil Kemperink. Other artistic influences come from Tracey Emin, Louise Bourgeois and Rebecca Horn. Graham MacIndoe and Isabelle Camillo have influenced how I capture my experiences, as well as the Tableau style photographers Sarah Jones and Gregory Crewdson.

Beyond university, I aim to exhibit my work in galleries and within the wider art community. I shall continue all aspects of my artistic practice, especially ceramics as it has become a real passion of mine. I will also continue selling my work on Etsy. Visit my Instagram page to see more of my practice and how these works would be displayed within a gallery installation.