Kate
Davis: Participant
Until January 22; Sorcha Dallas, Glasgow
Taking part in the Country Grammar exhibition recently, Kate Davis
showed a work which consisted of two framed drawings and a wooden
plinth. It was mystifying in isolation from the rest of the artists
work, so I looked forward to learning more in her solo show at Sorcha
Dallas.
As it turns out, the solo show consists of three framed drawings and
a wooden plinth, and even that barely fits in the compact gallery
space. It concentrates your mind, though, to be squeezed in with art
which has been designed to inhabit such a small white cube.
Davis has used the space cleverly, presenting you with a choice as
soon as you walk in the door. A puse-pink wooden platform almost fills
the floorspace, and most timid gallery-goers will step carefully around
it, perhaps sitting gingerly on its edge. More interactive types will
step up onto it, giving themselves an entirely different relationship
with the drawings on the walls.
When you get up there, it strikes you immediately that the pink plinth,
stretching out underneath you, is echoed in the biggest of the three
pictures. And if the plinth in the drawing is a reflection of the
one youre on, then the over-confident flesh-pink wine bottle
must be you. It leans back, chest puffed out and tea-cup belly on
proud display, before what might indeed be a mirror.
In another drawing, a bent, broken wine glass has toppled from its
plinth. The wine which spills from its shattered bowl forms a long,
creeping tongue-shape on the ground. While this might be a pathetic,
broken image, two little spoon-shaped arms sit defiantly against the
glasss stem, like a person with hands on hips. It reminds me
a little of Pixars first computer animation, of a family of
desk-lamps which, despite their lack of human features, demonstrated
the full emotional range by virtue of their movements.
By using the bottle, cup and wine glass, Davis taps into a long artistic
tradition. Vessels have been used to represent the human form since
Plato first tried to separate the body from the soul. In many cultures
the vessel also specifically represents the feminine. The womb, after
all, is the ultimate vessel, and in sexual terms, the woman is the
receptacle.
In the third drawing, the image of a flat, perforated spoon is cut
through by a pink butter-knife. The sexual symbolism is fairly easy
to spot. The use of domestic implements to represent the human figure
is another nod in the direction of gender politics. But the overall
effect is not one of victimisation or complaint. The metal spoon cheekily
salutes the looming knife, the shattered glass refuses to admit defeat,
and the pregnant wine bottle surveys her own image, like Velazquezs
Rokeby Venus, with regal certainty.
A Suffragette attacked the Rokeby Venus with a meat cleaver in 1914.
While this is not to be recommended, Davis does place the power balance
between you and her drawings in your own hands. By stepping onto the
gallery plinth you can choose to tower over the pictures, but at the
same time you become an art object to be scrutinised. Like it or not,
you are a participant.
Catrìona
Black, Sunday Herald 05.12.04