Dimensions: displayed: 1300 x 440 x 430 mm
Copyright: © Sarah Lucas | CC-BY-NC-ND 4.0 DEED, Photo: Tate
Editor: Here we have Sarah Lucas's *NUD CYCLADIC 6*. I’m struck by the figure's pose – so vulnerable, almost fetal. What’s your take on this piece? Curator: Lucas often uses the female form to challenge societal expectations. The Cycladic reference connects to ancient ideas of the feminine, but Lucas subverts that ideal with her raw, almost crude, representation. It prompts us to consider how women's bodies have been historically idealized and commodified, wouldn’t you agree? Editor: That’s interesting! So, it's a conversation about reclaiming the female form from those historical constraints? Curator: Precisely! Lucas encourages us to interrogate those power structures. Her work isn't just about aesthetics; it's about social commentary. It makes you wonder how we can push for more equity in the art world, doesn’t it? Editor: I hadn't considered the Cycladic connection before, but now it gives the work much more depth. Curator: Exactly! Now you're thinking like an activist!
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NUD CYCLADIC 6, along with NUD CYCLADIC 3 (Tate T13451) and NUD CYCLADIC 10 (Tate T13452), is one of a series of sculptures made in 2010 by Sarah Lucas collectively referred to as NUDS. Each is made from tan nylon tights stuffed with pale-coloured fluff and twisted into an ambiguous, biomorphic form, resting on top of a plinth made from breezeblocks stacked on a wooden base. The sheer nylon tubes, contorted into looped and knotted forms are at once suggestive of fleshy body parts and smooth mottled marble. While the shapes evoke limbs and orifices, it is not possible to fix the forms to a single figurative referent: the suggestion of one body part dissolves as the hint of another emerges.
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