Judith Scott
Judith Scott and her twin sister, Joyce, were born into a middle-class family in Cincinnati, Ohio. Unlike her twin, Judith carried the extra chromosome of Down syndrome. Following an attack of Scarlet Fever in infancy, like Helen Keller, she lost her hearing, although this would not be recognised until many years later. For more than seven years Judith and Joyce shared an idyllic country childhood rich in colour and texture, but one lived without words. As a child, Joyce was profoundly affected by the loss of her sister, who she experienced as the “other half” of herself. Something important was constantly missing from her life, and her childhood became a search for a closeness that was irrevocably lost. The death of her father, and breakdown of her mother forced Joyce to look on her own for her missing twin. As a young adult, she sought to heal this profound inner wound by caring for other forgotten children who were discarded by society, unconsciously searching for Judith and her missing wholeness. Finally, in 1986, both twin’s lives dramatically shifted when Joyce, following an epiphanal moment of insight, took it upon herself to become Judith’s legal guardian. After long and difficult negotiations, and over the objections of their mother, Judith went to live with Joyce and her family in California, beginning a process of deep healing for both twins. Judith’s innate talent was quickly recognised by Creative Growth’s staff, and she was given freedom to scour the studio for whatever materials she wanted. Nothing was rejected and objects of every size and shape — both private and public — were gathered up. Day by day, week by week, and sometimes for months on end, these prizes were gradually wrapped, woven and entwined in yarns and threads of carefully selected hues, until Judith, and Judith alone, decided that the piece was complete. - judithandjoycescott.com
Her work-cycle was constant; five days a week for eighteen years. She produced over 200 cocoon-like sculptures in that time, many of which can be found in international museums and private collections. Some are small and intimate, others almost unmanageable in size.
Her work is an abstract reflection of her life. The colourful, idyllic childhood, the loneliness and isolation of institutional care and, above all, the connection with her sister Joyce; one piece is widely believed to represent twins reaching out to one another. - Textile Artist.org
Reflection
It is clear to me that the work Judith Scott produces is in direct response to the trauma both Judith and Joyce experience as children, The binding of objects is a sort of therapeutic act, or primitive need to attempt to patch over negative experiences. As soon as Judith finishes one sculpture she starts another one. This demonstrates further her obsessive need to tie, wrap and bind things together so they have eternity. It is equally notable that Judith choice of colour is careful considered from pastel pinks to earthy browns. Each one plays the part of a emotion entwined around a cocooned object. Similarly within my own practise, I have started to cocoon objects in a variety of ways as a means of both protection and healing. I am intrigued as to the objects which Judith Scott has wrapped, are they found or lost objects, do they hold any particular significance for the artist, or is the wrapping, a ritualistic process that is the focal point. I find myself feeling at ease by the process of making these bound objects as they are protected by the string, and to an extent, 'out of sight out of mind'.
sources
No comments:
Post a Comment