‘Escape from Genesis’ by Lucia Andrea Sweeney

las_002.jpgReview of Escape from Genesis by Lucia Andrea Sweeney at Loft Space Programme (01 April 2007 – 14 April 2007), Curated by Jo Derbyshire.
Written by June Rose Hobson.
Photographs © Tony Knox 2007. – 08 April 2007.

Escape from Genesis’ is sculptural installation by the artist Lucia Andrea Sweeney. This is part of the series of exhibitions at the Loft Space by the Curator Jo Derbyshire. Each exhibition has run for approximately one week, but due to the curiosity of this particular work by Sweeney, the art has been exhibited for a further week.

This curatorial programme by Derbyshire has taken art from the gallery context and places it into the urban space of a residential house, already once famous for the home of the Granddad character from the late 1980s television sitcom ‘Bread’.

On first approach, the viewer may be disconcerted by this installation. The Loft Space is bare, but for two sculptures of a mummified human form and a new born. These are connected by an umbilical cord and rest next to each other; each laid on white cotton. The infant’s cognate of swaddling, while the material the life size sculpture of a corpse similar is to a shroud. It is intriguing how the concept of the materials itself, both used to rest or cover imbues different notions, either to conceal or protect the tangible fragility of these two forms.

The realism of these sculptures when primarily viewed disturbs the senses, as it explores through visual dialogue the utmost in human life. The distinctive visual representation on the concept of time and human existence from birth to death is always an integral and poignant subject. The umbilical cord denotes our own place at that point of contemplation. The in-betweeness evokes viewers’ senses of their own conscious position in time and place.

These forms by the artist are influenced and inspired by art, science and history, significantly archaeology, where her main passion lies. However, as art, these are explications of the aesthetic object as artefact, both derived by human intervention and evolution of humanity and civilisations. The interconnection of beginning and end, Alpha and Omega, as referenced by the artist, delineate the ideology of time and mortality.

Sweeney combines the canon of the human form through art and artefact of the empirical of the institution, the sanctification of the human form as represented by the gallery and the museum. Moreover, in the spatiality and temporality of the Loft Space programme, it derives further notions of the socio-cultural and urban lives of people and society.

The art by Sweeney is an immensely profound piece and leaves the viewer introspective even sometime after.

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