Fiona Roberts‘ new show Intimate Vestiges is a collection of wonderful and weird objects. She loves taking mundane items and adding creepy details to them. Items that we are used to seeing in our house everyday now seem to be encroaching on our personal space, and even seem to be a bit threatening. Roberts has transformed a simple chair into an anthropomorphized Frankenstein creature: the leather sections now feature tiny pink gaping mouths, baring their teeth and ready to chomp at whatever touches them. The menacing orifices are bordered by shiny plaited strands of hair; the legs of the chair wrapped in the same hair. The chair seems to have murdered the occupant of the house, and now wears the attributions of it’s victim on the outside.
Intimate Vestiges deals with questions of the ‘other’ – what is human, and where do our human bodies, memories and experiences end? We undoubtedly transfer these emotions into the objects around us – but what keeps them as foreign bodies? As writer Stephanie Lyall asks:
What can constitute humanity? At what point does a collection of disparate parts become a being? How much of a body can be rearranged before becoming something ‘other’? (Source)
Roberts’ sculptures have a beautiful philosophical poetry embedded in them. She has pillows made from plaster frozen in the middle of a kiss. They seem frozen and unable to enjoy their passion. They pillow lovers are able to extract empathy from us immediately. She has a rug made made from hundreds of ceramic fingers that might make us think twice about treading so heavily on our own carpets at home. Roberts has the power to make us re-evaluate the inanimate objects around us we take for granted and combines our outside worlds with our inside worlds.