The exhibition Humanum Labyrinthus will be held at the Macquarie University’s Biological Sciences Museum on the 22nd of April 2011 - International Mother Earth Day. Ernesto Neto and Fiona Hall are both leading artists that present a strong focus on the organic, biological sciences in relation to females. With Neto’s large scale abstract sculptures resembling the internal female and Hall’s abstract, erogenous sculptures of the erotic female, this exhibition will engage the human senses, enlightening through a sensual journey of anatomical and psychological discovery.
Ernesto Neto works consistently in large-scale installation resembling the internal female. His works stimulate on both a physical and psychological level, using texture, scent and atmosphere to engage the entirety of the human senses. Some of his sculptures are presented suspended from the ceiling holding large quantities of aromatic spices, where as others are presented as an interactive playground. His installations more often than not, take up the complete exhibition space allowing the audience to experience his labyrinths of fabric from the inside out. Neto’s aesthetic presents an organic, maternal atmosphere, creating a sensual connection between the piece and it’s audience through the use of colour form and balance.
Neto’s body of work “The Malmo Experience” is an abstract reconstruction of the female anatomy, presented through interactive labyrinths of malleable sculptures. These sculptures are primarily made of nylon or cotton material (similar to stockings), reconnecting the audience with their personal maternal nostalgia. These gigantic installations evoke memories of security and childhood innocence, through the playful, and vibrant aesthetic of his work the colour, texture and form – one in particular resembles an infant’s ball pit. His installations allow the audience to literally feel placed within the artwork, creating a personal memory and relationship toward the labyrinth. This particular body of work presents a deeper focus on the internal landscape and its structure. He constructs the sculptures to mirror the complexity of the human body through the disjointed, abstract quality of the shapes and their colours. “The Malmo Experience” is ultimately about the viewer interacting with the sculptures on a tactile level whilst allowing the human senses to be aroused by the scents and textures. The colours within this particular body of work are spongy and fleshy, creating the link between the organic large-scale labyrinths and ones own internal labyrinth. The large pastel pink fabric sculpture evokes the colour of internal flesh, much similar to our mouth. The organic, malleable, soft and squishy feel of it also resembles the texture and construction inside ones mouth. The textures of his sculptures are reminiscent of human skin, enhanced by the orifices embroidered throughout the material. These sculptures allow the audience to feel connected, visually flaunting their desire to develop a tangible relationship. This exhibition contains a multitude of different installations, all apart of “The Malmo Experience”. This allows the audience to stroll through each room, entering a different atmosphere and engaging in a unique sensual experience each time. These separate sculptures resemble all the individual anatomical systems, focusing on the complexity that we are generally unaware of, as well as the psychological discovery and experiences we encounter each moment.
Fiona Hall works with a strong interest and knowledge of the botanical world. Her works evoke concepts relating to the western worlds notion of ‘The Garden of Eden’. She presents this focus through her sardine tin sculptures “Paradisus Terrestris”, implying that paradise on earth really is genetic diversity. Her erogenous sculptures of the female and male body within precious botanical specimens allude to the idea that the anatomical complexity of the human body is ‘The Garden of Eden’. The sardine cans are partially open blatantly revealing the human body through erotic scenery. She has drawn on the link between the sexual organs of botanical and human life through the corrupted innocence of our individual paradise. Fiona Hall states: “There are more genetic similarities between us and the plant world than there are differences. These are mind-blowing concepts that should make us take notice, because if we can’t coexist with and maintain the plant world then human life is doomed” (The Art of Fiona Hall, 2005). She utilizes art and visual language to engage her audience in the promotion of the natural world and its value. Hall’s aesthetic stems from her interest of the botanical world, and presents an organic connection between humans and nature through a precise utilization of assemblage or readymade art.
Through Halls series of sculptures, she presents to her audience the similarities between humans and nature combined through the use of colour, form, and balance. The sculptures are carved from individual gold or silver sardine tins that are pried open revealing an erotic scene. The sexual organs of the human body are sealed within the tin, whilst the botanical equivalent is flaunted through the top of the can on obvious display. The balance of these sculptures alludes to the idea that the botanical world is influenced ultimately by the human race. It is the idea that our decisions impact the survival of the environment around us, as we are represented as the root system of the flora in the sardine tins. These cans are delicately carved, also presenting the vitality of our natural earth and creating a link between the delicacies of humans as well as the earth. Each tin is either silver or gold, which usually represents value or wealth. This shows the audience the significance of the focus presented and allows them to see past the usual assumptions and observe the fragility and precious value of the innocence that is being corrupted. Fiona Hall utilises humour throughout this body of work as she presents serious environmental issues through the carful use of sexual innuendoes and play, allowing the audience to relate on a more personal and social level with the tins.
This exhibition Humanum Labyrinthus will leave you wanting more as your senses are aroused and your spirituality surfaces. Fiona Hall and Ernesto Neto both engage their audience with a heavy influence of the natural world, taking advantage of our instinctual maternal desires. Their works bother display tangible ideas of the female body and its complexity and innocence. This once in a lifetime exhibition is not one to miss, as these two leading artists will take you on a journey of both anatomical and psychological discovery.
