In yesterday's post we looked at something simple and streamlined – bridges. For today let's instead get inspired by something equally beautiful, but characterised by very different shapes and configurations, gogottes. These rare mineral grayish-white sandstone formations are the natural result of calcium carbonate binding with fine quartz grains. If you didn't know that gogottes were formed naturally, you would think they were works of art made by a very creative and talented sculptor.
Each gogotte is unique: the round, swirling and twisting complex layers, shapes and curves with their soft edges are sculpted by nature and by the mineralisation processes.
Some gogottes date back to the Oligocene period (30 million years) and call to mind dream-like cloud-configurations; others do have a vaguely anthropomorphic look, with their lumps resembling breasts or bellies; slime enthusiasts may see in these dynamic masses almost the same irresistible attraction they feel when they immerse their hands in the soothing softness of a mass of slime.
Throughout history gogottes were always appreciated: in the 17th century Louis XIV ordered extensive excavations around Fontainebleau (the finest gogotte specimens were found here) to dig out gogottes that could be used to decorate the gardens of the Palace of Versailles. Twenty century artists also fell in love with gogottes, and their shapes are evoked by the white marble compositions of Jean Arp, such as "S'accroupissant" (1960-1962), and Louise Bourgeois (see for example "Cumul I", 1969).
Daisy Collingridge's grotesque textile sculptures that she affectionately calls "Squishies" call to mind the configurations of gogottes. These wearable sculptures are blob-like constructions characterised by a fleshy colour palette. They look slightly disturbing, but also exuberantly joyful.
Collingridge, who works as an interdisciplinary artist, has been developing the pieces since 2016, conceiving them not as soft armours that can protect the body, but as studies of form and movement, dynamic sculptures that celebrate its fleshiness and imperfections.
The artworks could be seen as textile sculptures, but they are also costumes (they are constructed like ordinary clothes, following specific patterns) that activate a space and therefore, both inhabited or uninhabited by a wearer, they are ideal for performances.
While they call to mind Louise Bourgeois's work, they also make you think about gogottes configurations, the main difference being the contrast between the solid and hard gogottes and the soft fabric employed by Collingridge for her sculptures.
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