Revealing Vulnerability
- Kannitha Lim
- 4 hours ago
- 3 min read
“The purpose of art is to lay bare the questions that have been hidden by the answers.” – James Baldwin
Vulnerability becomes resilience in Elessa Howards recent
exhibition Hold Me, Hold Me Close at Mornington Peninsula
Regional Gallery. The echoing states of vulnerability and
resilience are beautifully conceptualised throughout the
exhibition. Each artwork emerges as an emotional landscape.
Built up in layers of cardboard, paint, thread and paper. Howard
creates a vulnerable space, making visible the anguish of
human experience and greets it with grace and empathy. A
gentle, imperturbable power culminates with each artwork
holding the viewer protectively with motherly arms offering
belonging and community.
In a previous essay I contemplated the inside of boxes hiding
the unknown, invisible, secrets and shame. Presently the
conversation continues with Howard’s Hold onto the good parts,
with boxes spread open, as partial pieces, stitched together,
painted flat, or left whole, closed and sometimes wrapped in
wire or thread.
These boxes are situated centrally or in the upper left side of the
canvas comparable to the placement of a heart with a protective
barrier or reinforced pericardium held together with layers of
paint and wire.
In one painting of Howard’s Hold onto the good parts series, two
rectangular boxes can be seen in the upper right hand corner,
together they make a square reminiscent of two chambers of
the heart. The left chamber is open at the top while the right side
remains closed. The boxes are painted a warm creamy white
with cool streaks of blue bleeding through. As if the heart is
battling its own transformation.
This concept is strengthened by the blue threads wrapped
horizontally around it. Holding the heart together or forcefully
binding the heart in place as seen in the many dents and
buckles in the cardboard structure. The heart seems
determined and victorious in managing to open the top of its
right chamber lid allowing the flow of emotion and life in and out
of the heart. Blood now flows moving sustenance around the
body absorbing nutrients and discarding waste as it goes. The
second painting in Howard’s Hold onto the good parts series,
features a large painted background over layers of paint, scraps
of paper and possibly words. Long red threads are stitched into
the canvas along one side reminiscent of ruled lines on paper.
Along another side the stitches are short like staples. These
could be stationary staples holding a book together or surgery
staples on skin closing a wound. Beside these staples lays an
open cardboard box painted in various hues of blue. The box is
missing one side leaving an empty space and a ripped edge.
Beside the blue in the centre of the canvas sits a small
rectangular box. Protruding outward invitingly as if the viewer
might place a hand palm forward to feel for breathe and
heartbeat. This inner box is closed, taped, painted and sealed
shut. With its contents protected from many layers previously
opened this form holds firm. Perhaps not impregnable but
certainly fortified.
In Howard’s installation Hold me, 24 concave Papier-mâché
bowls are mounted onto the gallery wall. Their insides exposed
to the viewer, their surfaces divided into three or four sections
and painted in various warm tones ranging from cool blues,
greys and greens to warm yellow, pinks and browns. The paper
buckling under the paint while continuing to hold their form.
Transporting the viewer into private dwellings, dishes shared,
conversation around a table. Bowls filled with comfort and
sweetness during times of sadness and joy. Howard’s wall list
reads ‘bowls reflect nurturing, holding, and the need to feel held
emotionally.’ Howard’s bowls bring a sense of belonging,
community and motherly love.
Howard’s installation Held memories, makes visible the physical
crumpling of anguish. Fifty-two calico bags holding childhood
memories on crumpled pieces of paper. The bags are covered
with colourful threads stitched like decorative code, revealing its
contents hidden from the viewer. These linear lines of stitching
run horizontally like writing or repetitively contracting inward
inside ovals and squares. Evoking an act of rumination, churning
over thoughts, grinding and reliving memories to process their
meaning. Howard’s wall list states, ‘...these memories are not
hidden, but carefully contained, their weight acknowledged and
safely held.’ Howard transforms the powerlessness of anguish
into a beautiful meditation of empowerment and healing.
Full catalogue available from Mornington Peninsular Regional Gallery,
Civic Reserve, Dunns Road
Mornington, Victoria 3931
Regular Hours: 11am-4pm, Tuesday-Sunday
