Lindsay Emery

My three dimensional practice is concerned with gesturing and misconstrued communication. The large bound cardboard columns fill the room floor to ceiling. The physicality of using my hands in a laboring manor is significant through defying the ‘typical’ aesthetic of women’s art, having an androgynous aesthetic which pervades the room unlike that of stereotypical tactile and soft textile forms. I use my body to navigate the entire space. The laboring hands in which I make these large sculptures link to my casted wax hands appreciating that in which made these large works. The second element to my ‘working through’ are the hand casts made in wax. These works are temporary. On their surface, there are deconstructed sentences, highlighting the paradoxical aspect of communication and language as a construction. Inner thoughts to spoken language do not always correlate especially when regrading trauma. This inability of communicate, whether this be a choice or not, is significant in the broken sentences. With these wax casts illuminated from within with candles they slowly disintegrate further consolidating the temporary fleeting aspect of language, memory and trauma.