Claire Twomey combines a Baroque excess of domestic–therefore feminine–paraphernalia with a Minimalist palette that manages not to overwhelm in her immersive ceramic installations. The white palette is really interesting with the shadows that come into play. They are installations rather than sculptures because they not only interact with their environment but because they often involve the viewer as well.
A bit like Rachel Whiteread’s signature plaster casts of the insides of ordinary domestic objects, like wardrobes, beds, floors and baths in 1988 that have been described as “minimalism with a heart”. This artist, also British, has done a number of cool things, including but not limited to:
- In London in 2006, Twomey created an intervention that wanted to create an interaction between the Victoria & Albert Museum and the audience. The work, Trophy, filled the cast courts with 4000 Jasper Blue birds. The birds sitting amongst the classical sculptures created a three-dimensional landscape to walk within.
- For Consciousness/conscience 3000 units of porcelain were produced to create a temporary floor at the Ceramic Biennial in Korea. The floor was crushed by the participation of the audience during the exhibition period. Crunch crunch. That kind of porcelain destruction seems absolutely delicious to me.