Sculptor Tessa Lynch discusses her new exhibition Café Concrete
‘The premise of the show is the portrait of a city-living artist'
Tessa Lynch’s solo exhibition, Café Concrete, presents work made throughout her year-long graduate fellowship at the Glasgow Sculpture Studios. Lynch will present a series of new sculptures constructed in an industrial manner and she intends the exhibition to evoke the vague flow of a two-way street.
‘The premise of the show is the portrait of a city-living artist,’ says Lynch, ‘someone who wants to be a wonderer or flaneur and yet faces the inability to be one because of the makeup of the city and the juggling of jobs etc.’ Lynch’s own commute to the Glasgow Sculpture Studios, which involves crossing the M8 and the Forth and Clyde Canal, provoked a lot of the thought around the physical and emotional negotiations the artist must make around an urban environment.
‘All the things I make are often re-made things that I see everyday, but in an aesthetic way, and then want to make, but then when you re-make something you realise that there’s some sort of social politics going on in why you want to make that object,’ says Lynch. The use of urban materials to create the sculptures, such as metals, rain water and chewing gum, binds the work and ideas together. For example, included in the exhibition are a series of tote bags made from motorway mulch that explore how women are often carrying big bags around the city.
Lynch is intrigued by the idea of the ‘flaneur’, as someone who saunters and contemplates, who is both active and passive in the city, and more specifically by the debated existence of the ‘flaneuse’, as the female occupying the space. With this in mind, Lynch has also collaborated with writer and curator Jenny Richards to create text work ‘Eddie Stobart and the Flaneuse’ to accompany the exhibition.
Glasgow Sculpture Studios, until Sat 22 Nov.