WAKEFIELD.- Yorkshire Sculpture Park
presents Tread Softly, an exhibition exploring childhood, developing identity and family relationships, through artists revisiting and reassessing defining moments and people in their lives. Selected largely from the Arts Council Collection by YSP, as part of the National Partners Programme, Tread Softly features over 30 works of sculpture, film, photography, and sound within the historic Bothy Gallery. Shown alongside the selection are specially commissioned poems by acclaimed poet and Scottish Makar, Jackie Kay.
Early experiences in life leave indelible marks on our evolving characters. Childhood and early adulthood are seldom entirely comfortable or idyllic, and this exhibition illustrates some of the complexities and trials of finding our place in the world. Tread Softly seeks to make visible events and feelings that can often be swept under the domestic carpet. Encapsulating this idea is Jo Spences iconic work Beyond the Family Album (1979), a candid exploration of how we portray ourselves to the outside world as opposed to our daily realities, with families encouraged only to photograph their leisure, their consumption or their ownership, and to show the harmony of their lives, rather than their failures, heartbreaks, or insecurities.
The exhibition begins with a selection of black and white documentary photographs, largely from the 1970s. These images capture a broad spectrum of complex family life and reflect the varied experiences of young people, taking in everything from joyful play on a spacehopper to compelling scenes within a womens refuge. Tish Murthas striking image from Youth Unemployment in the West End of Newcastle (198081) depicts children playing and making their own fun against the bleak background of an abandoned housing estate. Murthas brother, who was in the original photograph, looked back on that day, saying, Im going on 54, and Id still love to jump out of a window onto some mattresses.
Marketa Luskacovas photographs were taken in Chiswick Womens Aid, the first ever refuge for victims of domestic abuse and their families, or battered women as they were then labelled. Her work captured women and their children rebuilding their lives within this pioneering safe house. Vanley Burkes Educational Outing is from his famed Handsworth From Inside series (19681982) in which he documented the lives of the Black community in Birmingham. Burke photographed a range of events from very public anti-racism marches and the fall-out from riots, to more private moments such as weddings, graduations and school day trips.
Powerful works by Tracey Emin and Grayson Perry consider escape, salvation and the transformative possibilities of turning difficult experiences around. In a poignant reflection on a well-documented abusive childhood at the hands of his stepfather, Perrys ceramic work Mad Kids Bedroom Wall Pot (1996) states, I was a mad kid and now I aint. I got out cos I could paint. The Turner Prize-winning artists already troubled early life became more complicated when he realised he was a transvestite. Feeling out of place, Perry would often retreat to the garden shed and engage in a projected fantasy world with his teddy bear, Alan Measles. Perry continues to revisit these experiences through his art, and says, It was imperative that I got into a proper art college after the foundation year because art was my ticket out of Essex the pot Mad Kids Bedroom Wall is about escaping my roots through art.
Emins confessional first film Why I never became a dancer (1995) tells the story of the artists teenage years in 1970s Margate, where she used sex in a bid to find freedom and fight boredom after leaving school at 13. Soon disillusioned with these physical encounters, she looked to a disco dancing competition as a means of escape. Grainy Super 8 footage of her seaside hometown rolls as Emin narrates this important work, which she describes as a metaphor for why didnt I do everything I ever wanted to do in my life. As in many works in this exhibition, this conveys the rawness of youthful dreams pitted against the often-painful entry into the adult world.
Tread Softly also features new commission Shame Chorus (2017) by Jordan McKenzie, a work originally conceived as a live performance that explores memory, sexuality, community and catharsis though collective action and singing. Renowned psychoanalyst Dr Susie Orbach conducted interviews with members of the London Gay Mens Choir, exploring early, formative experiences of shame and coming out. Giving voice to ofteninternalised feelings, their stories were then set to music by leading musicians and composers (Billy Bragg, Leo Chadburn, Shane Cullinan, Jessica Curry, Edmund Jolliffe, David McAlmont, Sarah Morrison, Steve Smith, Verity Susman, Benjamin Till, and Jack White).
Paired together in the final room of the exhibition are two profound and iconic works that scrutinize the intensely personal bond between mother and child. Mary Kellys PostPartum Document: Documentation VI Pre-writing Alphabet, Exergue and Diary (197879) is part of her renowned six-year-long exploration of her relationship with her young son, with his developing writing shown alongside her unspoken internal anxieties and deliberations. Mona Hatoums Measures of Distance (1988) is a candid conversation with her mother conducted through letters sent while in exile; the two women look back over and reconsider aspects of their relationship, the emotional closeness belying the physical distance between them.
Jill Constantine, Arts Council Collection says: We are delighted to be working with our longest standing National Partner, Yorkshire Sculpture Park, to present Tread Softly which brings together an intriguing and layered compilation of works from the Arts Council Collection. The exhibition presents an array of different perspectives on elements of childhood in Britain, focusing on themes such as play, identity, family relationships and displacement. These are complex topics which continue to fascinate and inspire British artists working today.
A new collection of poems by Jackie Kay features in the exhibition and accompanying publication. Kays work often reflects on her quest to find her birth parents and her experience as a black child adopted into a white family, as described in her acclaimed autobiographical book Red Dust Road.