Atlanta

Thomasine Bradford

Underlying Gallery

Thomasine Bradford’s new work is philosophical without abandoning its concrete physicality. She uses materials and strategies reminiscent of Jannis Kounellis to create a formal and personal vision of female embodiment. The “Unsigned” series, 1987, is ambiguously figural. Bradford has set roughly cube-shaped glass vessels (each about 12 inches on a side) on standing shelves made of weathered scrap wood. The vessels refer simultaneously to the place of women’s bodies in Western, Christian society (vessels of both iniquity and reproduction, bearers of milk) and to the art forms considered appropriate for women. Each of the pieces stands on its own legs (of scrap wood in Unsigned I and III and of lead in II) and is a rough approximation of a standing, headless figure—a purely physical female body. Unsigned III is supported by three legs, one of which has two horizontal rungs that project out

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