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• W61575435 abstract "The American artist Robin Levy is fascinated by the way that our bodies are changed by pregnancy, disease, and ageing, and by the way in which our bodies become “objects” when we undergo medical procedures. Many of the sculptures, installations, and photographs in her new show are snapshots of our bodily changes—as if Levy is trying to create a permanent record of something that is never quite static.One of the techniques that she uses is to juxtapose or superimpose images of her own body with those of her son or her mother. In Vein, for example, is a series of digital photographs showing two legs that at first glance appear to belong to the same person. Look more closely at the varicose veins and you see that they are more advanced on one of the legs, which belongs to Levy's mother, and less advanced on the other leg, belonging to Levy herself. In the sculpture Self Portrait: Artist and Mother, she pairs a casting of her right foot with her mother's left foot.This sense of our connectedness and heredity is even more obvious in Soft Spot, a photograph of Levy's thumbprint—a potent symbol of her unique identity—superimposed on to her son's birthmark. The effect is initially unsettling—how odd to see a mole bearing the familiar whorl of a fingerprint—but once you realise what you are looking at, the overall sense is of tenderness (a mother's soft spot for her child).Levy worked closely with health professionals to create the two most striking images in the show, Lifeline #2 and Lifeline #3. These are cross sections of umbilical cords that have been digitally manipulated to produce enormous prints, in which the pink cords are tiny against a huge white backdrop. The cords appear so delicate, yet the title of the pieces reminds us of their power and of their potential therapeutic use. David Rubin, the curator of the show, says that these large scale prints “quietly take a positive stance on the potential benefits of stem cell research.”Figure 1In Vein #3, 2001Many of the works that deal with health and illness reflect the artist's personal experiences. Following her own pregnancy, she created Birthing Sheet, made of crisp white cotton. The piece captures the clinical and impersonal aspects of giving birth—the sheet is there to focus the obstetrician's concentration by removing intimacy with the patient.In the mid-1990s, Levy discovered that a family member and several friends had breast cancer and she became a carer to many of them. She has turned her experiences into a series of sculptures, including The Princess and the Pea, in which a mammogram is displayed on a pillow as if it were a precious, highly prized object (the tassels of the pillow were made from strips of mammogram film).Confronting Our Bodies is presented in a quiet, dimly lit space. Each artwork is individually illuminated, adding to our strong sense of awe as we gaze at these representations of the human body." @default.
• W61575435 created "2016-06-24" @default.
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• W61575435 date "2004-12-04" @default.
• W61575435 modified "2023-09-23" @default.
• W61575435 title "Art: Robin Levy: Confronting Our Bodies" @default.
• W61575435 hasPubMedCentralId "https://www.ncbi.nlm.nih.gov/pmc/articles/534904" @default.
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