THE KISS 2021 - AGAPE LOVE : FAMILIAL BONDS

Taken from the current online exhibition at Gallery Different ‘The Kiss; Agape’, Familial Bonds presents an array of artworks that focus on the ever-important bonds shared between friends and family. Utilising various mediums, we have united these seven artists as a demonstration of the powerful nature of art in reminding us to appreciate aspects we may have before taken for granted.

Deriving from the Greek language, ‘agape’ is emblematic of unconditional and sacrificial love. It is one that we share with our friends and family, without expecting anything in return. It speaks of purity and charity, and in this current day is a sign of the times. Whilst all normality currently seems disjointed, strange and uncertain, we look to each other for guidance and support. 

ROSALIND BARKER

Rosalind Barker’s mixed media drawings originate from a sense of familiarity and homeliness. They speak to our reconnection with the past, and the way we perceive this in our everyday present lives. There are times when something so minor, can trigger a whole wave of nostalgia. It is this nostalgia that specifically ties back to childhood and the relationship shared between herself and her mother, for Rosalind Barker.

Due to the variety of techniques incorporated within her drawings, the works encourage a very tactile response, beckoning us to explore the different materials through our sense of touch. However due to the barrier imposed upon us due to COVID-19, it makes this response impossible. This draws similarities to the familial situation in which, due to current circumstances, we are void of experiencing this personal and physical moments of contact with our friends and family. It teaches us to cherish those we hold dear, and look towards a brighter future.

Left: Play |

Graphite frottage, collage, silk thread on Japanese paper 60 x 50 x 4 cm
£480 (Framed) 

Right:  First Kiss

Graphite frottage, collage, silk thread on Japanese paper 60 x 50 x 4 cm
£480 (Framed) 

RICHARD CHAPMAN

Richard Chapman’s works are based on his ‘Symbiotic’ series, meaning two different organisms living in close, physical association. Both ‘Symbiosis’ and ‘Nurture’ are clear representations of this. Whilst the two heads in ‘Symbiosis’ look out in different directions, the physical proximity of them, and they’re puzzle-like shape, remind us of the relationships we have forged ourselves. Whilst the two organisms can be separated and exist without the other, they too come together in complete harmony.

Similarly, ‘Nurture’ shows two more abstract figures bending to make a smooth arc between them. Despite their lack of facial features, the poise of the two figures is representative of their unity/connection, and their ability to separate. The verb ‘nurture’ talks of care, compassion and responsibility upon another individual. This is demonstrated through the larger of the two figures creating a shield over their companion, it suggests an element of guidance and courage, without the need to explicitly state this. The sculpture talks to our inherent parental instincts, where we can gauge these sentiments without them having to be explicitly shown.

Left:

Symbios

30cm high
Bronze resin (also available in bronze) £1,750

Right:

Nurture
30cm high
Bronze resin (also available in bronze)
£1,750 

Left:

REBECCA FONTAINE-WOLF VP SWA

Rebecca Fontaine-Wolf’s works deal with the idea of bonding and friendships. Both of her two canvases show sitters enshrouded by love and care, emitting a clear sense of security.

‘The Moon and the Hunt’ depicts a familiar setting in which two older females, bring comfort to the third, and younger female. The interlocking of their arms, and the tight embrace with which the third sitter is being secured in, suggest a family bond with the tender touch of the central figure, representing motherhood. The use of pastel colours hint innocence, peace and neutrality, whilst the bold red brushstrokes consuming the younger sitter being emblematic of love and passion, feelings that are often projected when physical contact is made between humans.

‘With the Nymphs’ similarly looks at a deep personal connection held between the two sitters. The act of kissing on one’s head or hair is representative of nurture and intimacy, showing affection and protectiveness with a close emotional bond. The minimal colour palette explored in this image leaves complete focus on the relationship being depicted between the two females. The subtle re-addition of one sitter’s eye, upon the other’s forearm, suggests that although they may be two separate individuals, they are intrinsically linked by their adoration for one another.

LOUISE GIBLIN MRSS

Sculptor Louise Giblin’s work explores the idea of motherhood, and explicitly female familial connections. Created in transparent resin, Giblin’s ‘Flux’ is a cast of her daughter, at a time when her body and character were experiencing significant changes. The carefully considered use of transparent resin has defined the piece, showing the continuous changes that can occur depending upon the sculptures environment. As viewers circle and move round the work, the setting they can see through the sculpture changes accordingly. This also changes with the changing time of the day, and the way in which the light reflects and flows through the work. The adapting and confusing nature of the piece are an incredibly effective reflection of the confusion that is experienced by girl’s as they move towards womanhood.

Louise Giblin’s head cast ‘Enigma’ is pure and simplistic in its depiction. The female looks bold and courageous, with a soft and welcoming face. Her peaceful poise shows her as reflective and clever, allowing us to feel calm in her presence. Such defining traits assume her the role of mother and friend, trustworthy and knowledgeable. 

NATALIE PAPAMICHAEL

Natalie Papamichael’s ‘Self-Portrait with Ziggy’ is painted in a classical manner, with a distinctly feminist twist. The scene depicted references the very beginning of the relationship forged between mother and child. It is these intimate moments that we once took for granted which now, due to current circumstances, make it almost impossible to engage in any sort of close proximity contact. We crave the love, attention and physical connection with those close to us. 

Agape is the unconditional love the mother has for her child, yet the painting also illustrates the conflict that arises from this love and challenges the idealisation of motherhood

ALISON MULROY SWA

Alison Mulroy’s painting carries considerable emotional weight, showing us the absolute importance of family connections. In her work she has depicted a young boy who, named after the constellation of stars, has brought hope and new meaning to the life of his mother. He is depicted entranced by the beauty of his mother’s jewellery, simply unaware of the profundity of this moment. Here, he displays how much he adores his mother, a mutual feeling shared between the two. Such connection brings immense spirituality to the work.

DAWN ROWLAND FRSS

Dawn Rowland’s two sculptures of the same subject, but varying materials and sizes, ‘My Sister …. Myself’, addresses both the physical and emotional connection between two individuals, not necessarily tied by blood relation. The close proximity of the two heads is indicative of love, kindness and adoration. Although the two heads seem physically close together, it is this bond that can still be cherished across countries and continents, and still remain just as strong. Similarly to the other artists, Rowland’s sculpture talks of the absolute importance of friendships and support, even more so in times where physically connections can’t always be made.

"The space between teh two heads is the most significant part.  All the emotion between is expressed in that space - almost touching, but not quite"

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