Su Richardson talks about her work in the exhibition Home Strike at I’étrangère in London.
Birmingham-based artist Sue Richardson, known for her Postal Art Event work Burnt Breakfast (1975), exhibits crocheted works made in the 1970s and also more recently constructed body parts “indicating bitter fantasies”. Insisting on the “revalidation of craft” and challenging the “white-cube aesthetic” with humour and dexterity, Richardson achieves form and colour seldom seen in objects made by hand using needles and wool. Yet while Richardson’s works entice a haptic and optical delight of materials, playing with memory and childhood, they also “subvert the womanly connotations of ‘labour of love’ cooking and craft”, poking fun at petty hierarchies in art institutions, and questioning the position of the woman and the mother in the home.
Studio International visited the Home Strike exhibition during the gallery’s “Resistance Lunch”, held in celebration of International Women’s Day and the opening of the exhibition. Collaboratively curated by Alexandra Kokoli, senior lecturer in visual culture at Middlesex University, and Basia Sliwinska, senior lecturer in culture and historical studies at University of the Arts London, Home Strike revisits 1970s feminism and “proposes to inflict its currency through intersectional considerations of class and the biopolitical”. In their accompanying text, Kokoli and Sliwinska warn us of the “shifting notion of Home”, and the problematic sense of belonging.
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8 March – 21 April 2018
Interview by MK PALOMAR
Filmed by MARTIN KENNEDY
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