Knitted Sculpture 2006-2008

Art Artwork from Australia. Published by Kate Just on Thursday 23 July 2015.

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Year: 2006

From 2006 to 2008, Just created knitted sculptures reinterpreting Greek and other mythologies that deploy physical transformation as a metaphor for personal struggle, awakening sexuality and creative power.

Through the creation of these time intensive works, Just narrated difficult or significant life experiences, signalling knitting as a potent narrative or storytelling device. Paradise is a knitted scene that reinterprets the myth of Persephone’s descent into the underworld through a modern day, suburban image of a woman sinking into her own lawn. Persephone’s tale symbolically refers to a journey into the dark and unknown regions of the self. Continuing this theme, Paradise weaves an image of the grief shared by the artist and her mother over the recent death of Just’s brother. In My Daphne, Just reimagines the myth of Apollo’s unrequited love of Daphne, and her chosen transformation into a laurel tree to reflect on experiences of coming out and migrating to Australia on her own. I Just Don’t Know What To Do With Myself draws on the Greek tale of Arachne, in which a duel between weaving women (Arachne and Athena) results in Arachne’s attempted suicide and conversion into a spider. Just’s despairing spider figure is characterised by glossy painted mannequin hands and flowing synthetic red locks, and reflects the experience of depression. Shed That Skin was inspired by paintings by Van der Goes, Michelangelo, Hieronymous Bosch and Tiepolo which image the serpent tempting Eve with fruits from the Tree of Knowledge. Biblical descriptions and these paintings portray the serpent as a beautiful woman on the top and a snake on the bottom. In this work, Just sheds the skin of history which often marks women as conniving, evil or easily manipulated, and recasts the snake woman as an intimate, vulnerable reflection of her self. The Garden of Interior Delights is an ambitiously scaled knitted and sculptural reworking of the strange pink fountain from the first panel in Heironymous Bosch’s painting The Garden of Earthly Delights (c.1500). Bosch’s paradise is a fantastical one, featuring wildly imaginative structures that blend plant, body and man-made forms. While Art historians and theorists relate Bosch’s pink fountain to the alchemical sign of Cancer, a pelican, or the pink robed ‘God’ figure in the foreground of the painting, Just reclaims and enlarges its uncanny resemblance to the female ovaries and fallopian tubes. Sewn folds of hand and machine knitted fabric create tubes, polyps, and bodily orifices, while macramé suspension devices, feathers, and latch-hooked red rug fragments and liquid woolen spray invoke a hovering totem to femininity.