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SATURDAY EVENING POST
June 15th, 2024
"I grew up around a table. Truly. It was a large, round oak table. It was in the kitchen. There was a living room, bedrooms, a bathroom in the house, but for the most part and perhaps even overwhelmingly, we gathered, ate, lived, spoke, engaged, arrived and became present to ourselves and to each other at that table." Was this the genesis of my art, I wonder?
– Charlotte Wall
We often speak of "home" in broad, general terms, but what truly defines a home? Is it merely a physical structure, or does it encompass something more profound and intangible? Throughout history, artists have grappled with these questions, offering varied and rich depictions of home that reflect both the tangible and emotional dimensions of this concept.
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Nakht and Lady Tawy making offerings; Nakht shown hunting and fishing. Theban Tomb TT52, Sheikh And el-Qurna, part of the Theban Necropolis.
In ancient Egyptian tombs, the depiction of home and domestic life was vital for ensuring a comfortable afterlife for the deceased. These images were not merely decorative but served a practical and spiritual function. For instance, tomb paintings often included scenes of food preparation, agriculture, and family gatherings. An example is the Tomb of Nakht in Thebes, which features vibrant frescoes showing Nakht and his wife Tawi at home, surrounded by servants and engaging in daily activities like fishing and farming. These scenes emphasize the importance of the home as a place of sustenance and continuity.
Jan van Eyck, Arnolfini Portrait, 1434, Oil on oak panel of 3 vertical boards, 33.3 x 24.6 in. (84.5 x 62.5 cm).
Renaissance art marked a shift towards more secular depictions of home. Jan van Eyck’s "Arnolfini Portrait" (1434) is a prime example, portraying a wealthy couple in their home. The detailed interior, complete with luxurious furnishings and symbolic objects, reflects both the status of the subjects and the significance of the home as a site of personal and social identity. The convex mirror in the background, showing the reflection of the artist and other figures, adds a layer of complexity, indicating the presence of the outside world within the domestic sphere.
Pieter Bruegel, Peasant Wedding, 1568, Oil on panel, 45 x 65 in. (114 x 164 cm). Kunsthistorisches Museum Wien
Pieter Bruegel’s "Peasant Wedding" (1567) captures a lively celebration within a peasant home, emphasizing communal bonds and the importance of family and social gatherings. The painting’s vibrant depiction of the wedding feast, with guests crowded around tables and engaged in various activities, illustrates the home as a central place for community and tradition.
Johannes Vermute, The Milkmaid, c. 1657 - 1658, Oil on canvas, 17 7/8 x 16 1/8 in. (45.5 x 41 cm). Rijksmuseum, Amsterdam
Johannes Vermeer’s "The Milkmaid" (c. 1658) exemplifies the Dutch Golden Age’s focus on domestic tranquility. The painting shows a woman pouring milk in a quiet, well-lit kitchen, highlighting the simplicity and dignity of everyday domestic tasks. The meticulous detail and serene composition convey a sense of order and harmony, reflecting the cultural values of cleanliness and domesticity prevalent in 17th-century Dutch society.
Jean-Francois Millet, The Gleaners, 1857, Oil on canvas, 33 x 33 in. (83.8 x 111.8 cm) © Musée d’Orsay, Dist. RMN-Grand Palais / Patrice Schmidt
Jean-Francois Millet’s "The Gleaners" (1857) focuses on rural life, depicting peasant women collecting leftover grains after the harvest. The painting idealizes the simplicity and hardship of rural homes, contrasting sharply with the encroaching industrialization of the cities. Millet’s work highlights the connection to nature and the traditional values associated with rural homes.
Gustave Caillebotte, Paris Street; Rainy Day, 1877, Oil on canvas, 83 1/2 x 108 3/4 in. (212.2 x 276.2 cm). Charles H. and Mary F. S. Worcester Collection
Gustave Caillebotte’s "Paris Street; Rainy Day" (1877) portrays the urban environment and the changing nature of home and neighborhood in a modern city. The detailed depiction of Parisian streets, with their uniform buildings and the bustling activity of city life, reflects the transformation of domestic spaces and the emergence of the modern metropolis.
Edward Hopper, Nighthawks, 1942, Oil on canvas, 33 1/8 x 60 in. (84.1 x 152.4 cm). Friends of American Art Collection
Edward Hopper: Hopper’s "Nighthawks" (1942) is a quintessential example of modern alienation. The painting depicts a late-night diner with a few isolated patrons, emphasizing loneliness and isolation despite the public setting. Hopper’s use of light and shadow creates a stark, almost cinematic quality, reflecting the fragmented nature of modern urban life, and perhaps a lack of or evasion of home life in a traditional sense.
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DO HO SUH, Home within Home within Home within Home within Home, 2013
Installation view, Home Within Home, National Museum of Modern and Contemporary Art, Seoul, Korea, 2013–2014. © Do Ho Suh. Image courtesy of Lehmann Maupin
DO HO SUH, Seoul Home/Seoul Home/Kanazawa Home/Beijing Home/Pohang Home/Gwangju Home/Philadelphia Home, 2012, Silk and stainless steel tubes, 575 x 285 x 156.5 inches (1460.5 x 723.9 x 397.5 cm), Installation view at the Philadelphia Museum of Art, 2023. © Do Ho Suh. Photo by Tim Tiebout
Contemporary Korean artist Do Ho Suh’s fabric installations, like "Home Within Home Within Home Within Home Within Home" (2013), explore the transient nature of home and identity in a globalized world. Suh’s life-size fabric replicas of his former homes in South Korea and the United States evoke both a sense of nostalgia and displacement, challenging the notion of a fixed, permanent home.
Judy Chicago, The Dinner Party by Judy Chicago, 1974-1979, Ceramic, porcelain, textile, triangular table, © Judy Chicago
"The Dinner Party" by Judy Chicago serves as a form of historical memory, bringing to light the stories of women who have been marginalized or erased from mainstream historical narratives. The triangular table, a symbol of equality, ensures that no one figure is given prominence over another, reflecting the feminist ideal of inclusivity and mutual respect. Chicago's work is emblematic of a broader movement within feminist art that seeks to critique and dismantle traditional gender roles. Feminist artists often explore themes of domesticity, body politics, and identity, challenging patriarchal structures and advocating for greater visibility and recognition of women's experiences and contributions.
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Mona Hatoum, Homebound, 2000, Kitchen utensils, furniture, electrical wire, light bulbs, dimmer unit, amplifier, two speakers. Presentation at Documenta 11, Fridericianum, in 2002.
Mona Hatoum’s installations, such as "Homebound" (2000), use domestic objects to address themes of confinement, security, and the fragility of home. In "Homebound," Hatoum arranges kitchen utensils and furniture connected by electric wires, creating a sense of danger and instability. This work reflects the precarious nature of home for many individuals, particularly those affected by conflict and displacement.
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Charlotte Wall, Assemblages, 2024, Wood and metal, installation. Photo by Kyle Juron
“These assemblages defy or accept differences – they are looking to identify basic truths and at times result in clumsy leaps of recognition. Also, there may be an observing of that which has already been intrinsically understood. With these forms connections are tenuous and uncertain and confusion is easily caused by a lack of concrete information.
However, a subtle thread of perception is intimated throughout the various entities creating a congregation rather than an individual. Minute by minute and year by year aspects are illuminated – a nuance is captured – a colour coded.
How clearly can we really see?”
Charlotte Wall’s installation “Assemblages”, crafted from the salvaged materials of her demolished childhood home, offers a profound exploration of memory, identity, and the transient nature of home. Through her assemblages, Wall delves into the complexities of reconstructing personal history and the emotional resonance of domestic spaces. Her statement provides a rich, layered context for understanding her work, reflecting on the ambiguity and fragility inherent in our perceptions of home.
Wall’s use of salvaged wood from her childhood home is emblematic of the physical and emotional remnants of our past. These materials, once part of a cohesive structure, are now re-finished and reassembled in the gallery, representing both the fragmentation and unity of memory and identity. Her statement, “These assemblages defy or accept differences – they are looking to identify basic truths and at times result in clumsy leaps of recognition,” speaks to the inherent difficulty and imperfection in this process. Memory is often imprecise, and our attempts to piece together our past can be fraught with gaps and inconsistencies. Yet, these efforts are crucial for uncovering basic truths about ourselves and our experiences.
The phrase “observing of that which has already been intrinsically understood” suggests that some aspects of our past are deeply ingrained, even if not immediately apparent. The act of assembling these pieces can reveal underlying truths that were always part of Wall’s understanding of her home and self. This idea aligns with Gaston Bachelard’s theory in The Poetics of Space, which posits that intimate spaces like homes profoundly shape our memories and experiences. Bachelard argues that the home is a fundamental space nurturing dreams and providing a sense of security and comfort, even if these feelings are not always consciously recognized.
Wall acknowledges the tenuous and uncertain nature of these connections, noting that “confusion is easily caused by a lack of concrete information.” This highlights the fragility of memory and the challenges of reconstructing the past without solid, tangible evidence. The physical disassembly and reassembly of her home’s materials symbolize this fragility, mirroring how our memories can be incomplete or distorted over time.
Despite this, Wall finds a “subtle thread of perception” running through her work, creating a “congregation rather than an individual.” This collective memory or community of experiences emphasizes the multifaceted nature of home and identity, constructed from numerous, sometimes disparate, elements. This approach resonates with feminist art theory, which often critiques the traditional roles and spaces assigned to women within the home.
Wall’s installation also reflects the gradual and evolving nature of understanding, as suggested by the statement, “Minute by minute and year by year aspects are illuminated – a nuance is captured – a colour coded.” This gradual illumination aligns with the idea that understanding and memory evolve over time, with each piece of wood and each element of the assemblage gradually revealing more about the past. The refinishing and treatment of these materials capture specific nuances of memory and experience.
Wall’s rhetorical question, “How clearly can we really see?” challenges the viewer to consider the reliability of their own memories and the clarity with which they can view their past. This questioning of clarity and certainty is a common theme in contemporary art, reflecting the fragmented and often ambiguous nature of modern life. Edward Hopper’s paintings, for instance, depict urban settings that evoke feelings of isolation and alienation, despite being set in public spaces that are extensions of the home. Similarly, Wall’s work explores the complex realities of modern living, where home can be both a sanctuary and a site of instability.
In the context of home and shelter, Wall’s installation speaks to the ever evolving nature of these concepts. Home is not just a physical space but a complex web of memories, experiences, and emotions. The demolition of her childhood home symbolizes the inevitable changes and losses we experience, while the act of salvaging and reassembling its materials represents the human desire to preserve and understand our past. This duality is reflected in the broader themes in art history, where home is seen as a site of both continuity and transformation. Through her evocative installation, Charlotte Wall contributes to the ongoing dialogue about what home means in an ever-changing world.
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