Hidden Symbols

collections, Colour, Exhibitions, Galleries

I am sat with a hot black coffee and some jammy figs trying to resist the urge to pick up the book I am currently reading. The problem I have with reading is that it is incapacitating, I don’t want to do anything else. This week however I am solely in charge of our business and the boys as the sculptor is in London at the Saatchi gallery with a solo booth at Start Art Fair.

This is a tick off the bucket list, although not a complete solo show in the entire space which would be the next step.

The pieces look something again in a totally white space and the advice of ‘less is more’ definitely paid off.

start art pieces

Sam Shendi, Start Art Fair 2018, Saatchi gallery, London.

When we look at art I wonder if we always want a quick fix, we want it to makes sense to us, to understand what we are looking at. Photography, painting and sculpture in the past always portrayed some kind of reality even if colours were at odds with the world around us or angles and lines in wrong places.

Someone interestingly asked the question whether my husband used the golden ratio in his work. With artists who have natural talent the rules are somehow embedded within their psyche they have a sense of why and what looks right. They aren’t necessarily following rules by prescription.  What they see makes sense aesthetically and their way of seeing and thinking is different.

These particular pieces maybe seen by some, as abstract forms, colourful piping for the playground or an object to lock your bike to. Shape or space. For the journey of sculpture it is about a three-dimensional form, how to visualise something from every possible angle. What inspires the form for my husband is all rooted in the human figure. The outline or the line that one would sketch becomes manipulated to show a position or body movement. If you look at some of Henry Moore’s abstract piece they look like pieces of vertebrae, focused on mass and volume. If we were to take the outline of those shapes we have these Shendi pieces. The negative space which the colourful line creates could be the sculpture. Or the line itself the sculpture which simultaneously casts a shadow also creating meaning and symbols. Hence, the name of these pieces: Hidden Symbols.

From this angle, the sculpture on the left shows the infinity symbol which becomes a very different shape looking at it from a different angle, an example of how we can all have alternate view points. The sculpture on the right could be a graph, a symbol of communicating information visually.

It is a journey to abstraction based on reality. In a world where we are over stimulated with reality, in the era of social media and screens of visual reality we no longer need to see sculptures of human bodies literally.

Art can take us into new ways of seeing, expand our ideas and if we sit down long enough, make us think for ourselves and use our own imaginations again.

The Forbidden Sculptures of Nefertiti

collections, Egyptian

Way back in December my husband said he was closing shop, closing studio for a few weeks. Time Off. Haha who was anyone kidding, the following day he was at the studio creating a new collection. This new collection is steeped in history, a concept, a story.

If you cast your imagination back, back to the time of ancient Egyptians. “The King’s Favourite and Master of Works, the Sculptor Thutmose” flourished in 1350 BC. Thutmose is thought to have been the official court sculptor of the Egyptian Pharaoh Akhenaten towards the end of his reign.

Nefertti

The bust of Nefertiti sculpted by Thutmose

The sculptor of the royal house was commissioned to make works of decoration and public art including the well-known Nefertiti Bust (above)

However, the story goes that in the secret spaces of his own studio the sculptor set to work on his own private collection. Looking at the Queen everyday working on the portrait the sculptor fell in love with his muse. So inspired he started working prolifically on full figures presenting her in shapes never seen before, inspired by the beauty of the young queen he explored his own style.

sanding nEFERTITI

Sam Shendi in the Studio

Or perhaps the Queen and her sculptor were in love and she commissioned him in secret to work on something that freed him from the constraints of the public design. She wanted him to dedicate his practise to her.

sanding Nefertiti 2

Sanding

Either way, these sculptures were hidden away in his studio and had no opportunity to be unveiled. To be revealed would make his love known or be too much evidence of love forbidden.

RESIN nEFERTITI

Next layer

They remained unearthed in the studio like beings from another world. Beautiful creations dancing in the shadows.

The possibilities of this story, the discovery of several works in the remains of the sculptor’s studio and suggestions that it was the sculptor alone and not an apprentice that worked on those of Nefertiti suggests some sort of secret.

resin anEF 2

Working on the Nefertiti collection in the studio

This story inspires the new collection.

Studio all Nefertti

Studio full of the forbidden sculptures of Nefertiti

Each piece would be positioned on an individual plinth and in two parallel rows of four. These stunning black and white photos below showcase the form, line and perfect finish of these works. Every time my husband finished new work, I think it is the best. Next week I will show you the finished full colour collection.

shadow 2 Nefertiti

Head Shot. Black and White photos of sculptures

shadow Nefertiti