Carole Griffiths’ four bronzes in the exhibition are based on a symbolic cohesion between domestic objects and female bodies. Each sculpture draws on the female form as central to the ambiguous relationship between object and self. The past meets new, and memories are blurred into dreams, where new objects are exploited through hybridity. Mother Fork is chosen to sit alongside Elisabeth Frink’s Harbinger Bird I, creating an unsettling reality of potential mobility. They both allude to an escape to freedom via fight or flight, and there is an entangled sculptural disruption within both these works, highlighting an anthropomorphic state of being. Through the permanence and tenacity of bronze, an organic sense of being is partly exposed, suggesting surreal and awkward realities.
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