Image: Dancing, Ladies 2013 by Sophie Ryder. Bronze. 190 x 230 x 230 cm. All the artwork is courtesy of the artist and Hignell Gallery
Sophie Ryder: Relationships
SCULPTURE EXHIBITION
In 2016 Salisbury Cathedral hosted one of the largest exhibitions by the artist, Sophie Ryder. The exhibition examined the realm of relationships. A collection of over 20 sculptures created from wire or cast in bronze, they were sited inside the Cathedral and within the Close.
Her work was not confined to the Cathedral in the spirit of the title we collaborated with The Salisbury Museum, where Sophie recreated a replica of her working studio and her wire drawings were exhibited at the Edwin Young Gallery in the City centre.
Ryder’s sculptures capture the complexity and diversity of human emotion through their postures and attitudes, from vulnerability and introspection to playfulness and intimacy. Within the context of a sacred place the sculptures challenge us to consider how we interact with each other and our loved ones. Her beguiling blend of human and animal forms are used as a metaphor to discuss a complex range of human emotions and lend a mysterious ‘otherness’.
Detail with the artist Sophie Ryder
Detail, Pink Lady Dancing with Big Brown Dog 2000 by Sophie Ryder. Bronze. 231 x 274 x 104 cm
Dancing Ladies, 2013 by Sophie Ryder. Bronze. 190 x 230 x 230 cm. All the artwork is courtesy of the artist and Hignell Gallery
Sitting Horse with Girl, 2016 by Sophie Ryder. Patinated wire. 187 x 190 x 112 cm
Conversation, 2002 by Sophie Ryder. Bronze. 215 x 217 x 68 cm
“I was fascinated by their childlike innocence. Although we may see ourselves reflected in their attitudes and gestures, they seem more expressive in their silence, as animals they are a purer version of ourselves.”
The Kiss a monumental wire sculpture of two clasped hands. Clasped in love, friendship or prayer, was placed over the North-East path so visitors could pass under the arch en route to the Cathedral.
Lady Hare in Forest was a contemplative installation. Five lady-Hares stand, partially obscured by the constructed forest that surrounds them. This is one of the sculptures where Sophie creates a context through which we may reflect on the dynamics of the poses, still and alert as if waiting for something to happen. Placed within the Cloister Garth, we question, are they hiding, and if so, from the viewer or each other?
In Conversation, Dog and Hare sit facing each other astride Horse. These companions sit erect and alert as if engaging in important conversation. Horses’ ear is twisted backwards, so not to miss any of the conversation. There is real pathos between these three friends.
Detail, Temple to the 200 Rabbits 1999 by Sophie Ryder. Resin and iron . Sited in the Cloister
“I get a thrill from working ‘big’ but I also want the pieces, while huge, to be transparent, allowing you to see through them. It is also exciting to have the combination of sizes in this particular Cathedral setting. I like to show my work in both rural and urban settings, but very often in urban settings, especially one like Salisbury, the work needs to be monumental to compete with the scale of the Cathedral.”
— Sophie Ryder
Paintpots, 2001 by Sophie Ryder. 213 x 235 x 80 cm
Minotaur and Hare on Bench, 1999 by Sophie Ryder. Bronze. 66 x 43 x 40 cm
The Kiss, 2018 by Sophie Ryder. Galvanised steel wire. 579 x 590 x 380 cm
Hugging, 2010 by Sophie Ryder. Sited outside Salisbury Museum. Bronze. 238 x 82 x 60 cm
The Kiss, 2018 by Sophie Ryder. Galvanised steel wire. 579 x 590 x 380 cm
Rising, 2013 by Sophie Ryder. Galvanised steel wire. 600 x 400 x 400 cm
Torsos, 2000 by Sophie Ryder. Galvanised steel wire. 303 x 305 x 120 each
Photography by Ash Mills