THE HOOVED AND THE CLAWED is an installation project utilising video, textiles, sculpture and ceramics to tell the story of a doomed romance between a lion and a young sheep.

Art Exhibition previously on at Galerie pompom in New South Wales, Australia.
From Wednesday 25 October 2017 to Wednesday 22 November 2017

 Katy B Plummer, THE HOOVED AND THE CLAWED, installation view. image

Published by Galerie pompom on Saturday 04 November 2017.
Contact the publisher.

It uses, as its starting point, Ibsen’s 1878 play A Doll’s House, in which a young woman (NORA) suffers the realisation that her husband does not in fact see her as an actual person. In the play, once this realisation sinks in, she simply walks out into the night, abandoning him, their three children, and the only version of herself she has ever known. 

Plummer conflates this narrative with a story of her own about a domesticated lion, released into the wild. In Plummer’s version, Nora explodes into the huge, bright, terrifying world, completely disconnected from her instincts. She falls in love with a young sheep, confusing her intense hunger for intense attachment. The works in this exhibition allow us to spy on Nora as she disgracefully attempts to get her bearings in a foreign landscape. We cross our fingers and hope she will eventually remember what kind of creature she is. 

Katy B Plummer is a Sydney-based installation artist working in video, textile and sculpture. Her practice is driven by material and narrative, with a heavy focus on costume and ladycrafts. Plummer’s installations often point to domestic environments in revolt against their function. She is interested in theatre, witchcraft, the phenomenology of radical politics, fraught/failed/ambivalent femininity, and the mytho-poetic possibilities of history. She slathers a thick layer of bathetic slapstick over our efforts to transcend our animal selves. Plummer completed her BFA at COFA and her MFA at the School of Visual Arts in New York.