Sara Barker. a weak spot in the earth

About

Barker’s practice traverses and blurs the thresholds between sculpture, painting and drawing; using these disciplines, and in turn their associated materials and techniques, as a way to create space, both physically and metaphysically.  Barker draws on inspiration from Modernist and Post-Modernist (and primarily feminist) writers, such as Virginia Woolf, Gertrude Stein, Doris Lessing, Hélène Cixous and Aya Kōda, whose text, Mirrors, supplies the first line of a newly imagined visual poem composed by Barker. The text navigates us through this exhibition, it is broken up and assigned as titles, both to the show itself and to each of the works within, leading our actual bodies, verse by verse, through the psychological space of the poem:

a weak spot in the earth

unnatural council
hands in cold looked blue 

conjunctions
eclipses
oppositions

a child slipping
a man losing his hat
in the natural weather 

hour-watching silver and exact
water is in water
within within within

window openings to
tableaus of a rebus 

materialised secret
gravel in the loam
describing a change

The poem allows for a sense of pathetic fallacy to be created between the viewer and the works; the transcendental experience of exterior, natural elements brought inside, to be shared within the intimate space of the gallery. Using the poem as a conduit, the works describe emotional nuances and subtleties connected to nature. For this new body of work, there is a tension between drawing that manifests itself within three-dimensional space and the painted two-dimensional surface. The metalwork of these sculptures starts to form shapes, and perhaps letters, characters, and/or signs; the combination of assumed semi-pictorial surface and symbol become allegorical. The linguistic supplements the visual, binding as a final image.

[1] Kōda, Aya, Landslides, Kodansha, 1991 (published posthumously)