The Muse Residency Program 2018 - final show
Mahaut Harley Leca
17 May - 3 June 2018
Private View: Thursday 17 May 2018, 6.30 - 9.00 pm
Drawing from elements of abstraction and romanticism, Josephine’s current work
explores perception, the limitations of art and the artist’s control over a viewer’s response.
The works experiment with how much information needs to exist in a piece, for it to be perceived and accepted as art and questions why a viewer instinctively objectifies and tries to ‘makes sense’ of abstraction - composing naturalistic images from unintended shapes and forms.
An ongoing aim of her work is to try and provoke a viewer’s most personal response. Creating imagery that is devoid of a prevailing narrative, Josephine’s work is not just open to, but encourages individual interpretation. Using traditional Japanese Aesthetics as a guiding principle, subtlety and detail are critical - the smallest of details can mark an image as either too literal, or as an image lacking in content.
Grounded in printmaking’s process and materials, her work has become increasingly experimental and exploratory. Using traditional techniques and materials in a non-traditional way, the creative process is as instrumental to the work as the initial concept or desired aesthetic.
Mahaut Harley Leca
Mahaut Harley Leca fades her images as protest to pop female photography; to step away from an era where endless access to technology has made shock value tactics the default means to represent the female form.
She cannibalises published imagery in a collage composed to reclaim the body back from vulgarity. She achieves this by presenting subtle glimpses of form, as opposed to gratuitous female objectification.
Mahaut strips the bodies of intention, fetish and expectation and presents them in a way that asks us to look and think again about what the body means to us. By using faceless bodies, she invites the audience to project themselves into the work for a more introspective and intimate moment.
Mahaut sees her work as letters to the past, a past she never belonged to where sexualisation was the identity given to the female form. It is through these letters, she asks us to shed our conditioning and appreciate femininity for its grace and elegance rather than sexuality alone.
A little nonsense now and then is relished by the wisest men.
The last four months of Mark’s Muse residency have been one of photographic experimentation, of finding a workable balance between chance and control, and of end results that sit somewhere between careful construction and careless destruction. It has been a process of discovery, of finding some of the magic that has always been a part of analogue photography.
Working mostly without a camera, the work rejects the window-onto-the- world illusion of photography and instead, presents a new world of chemical reactions, of photographic surfaces that are subverted, interrupted or broken. Mark may well be the missing link between Man Ray and Willie Wonka.