The Whole is Greater Than the Sum of Her Parts, 2023
Fibreglass and brass
Sanné Mestrom’s The Whole is Greater Than the Sum of Her Parts presents the figure of an abstracted female form, reclined in a state of semi-repose. This space offered by the curved edges of its forms, is at once a place of refuge and site of potential activation. The sculpture builds on the artist’s long-term engagement with female representation in the Western art historical canon, specifically modernism. More personally, the work is also informed by Mestrom’s physical transformation through motherhood – where a body becomes a space of shared utility, beauty and discovery in response to the needs of a child.
Experimenting with notions of monumentality, permanence and precision, and based in Sanné Mestrom’s broader investigation into art, play and risk, this work fashions abstracted bodily forms to advocate for playable sculpture in the public sphere. Sculpture that invites opportunities for self-directed engagement and interaction, as well as open-ended play for children is of particular interest to the artist. Intergenerationally geared, audiences of all ages are invited to not only develop their imaginations, but also to develop their capacity for risk-management and resilience.
Visitors are encouraged to engage with the artwork.
In the realm of practice-led research, Sanné Mestrom explores the integration, inclusivity, and interactivity of art in public spaces and urban design. The focus is on merging sculpture and the body to scrutinize art’s role in shaping contemporary interpretations of ‘play’ in physical, experiential, and sociological contexts of ‘place.’
Creating forms that respond to the built environment softens the separation of art and everyday life; it is through its ‘softness’ that play has the potential to open up a space to escape certain logics, and denying logic is in itself a subversive – and therefore political – act.
Represented by Sullivan+Strumpf (Gadigal Country/Sydney, Naarm/Melbourne), Booth C7.