Joan Miro at Yorkshire Sculpture Park (17.03.12 – 06.01.13)

Monday 10th December, I embarked on a journey to YSP. My last visit was roughly four years ago. On my arrival, I was full of joy and enthusiastic. I was curious about Joan Miro and his contribution to sculpture, considering his painting is well regarded as the dominant force. Miro once said ‘I am a young sculptor’. Nonetheless, I sincerely believe this is a work of great craft. I do not necessarily mean in terms of skills, but the craft that lives in the unknown, the subject of its own interpretation.At YSP, four rooms have been dedicated and scripted Miro the sculptor. One is a project space that gives a brief and parallel idea surrounding the “thinking” behind his sculptures, stage theatre, and a collection of data reflecting his early life, and the period before and after he moved to Paris. The remaining three rooms are full of integrity – the work consumes and makes visible different set of rules, and in many respects, it has the ability to transcend yet without losing the sense of self. It is the work of a great magician. I found myself captivated, even seduced by the combination of qualities, such as shape, colour, and all the elements that please senses. I felt in love with Miro. Twenty-first century sculpture lacks purity, but in this exhibition, the work is free from any contamination. Miro’s sculptures could be considered as a dual – a two-part model and each individual work is a character, a product of his dreams, imagination, childhood and its relationship with the material world. After contemplating the connection among all these works, I witnessed a contradiction between the indoor and outdoor. The outdoor space has numerous semi-large sculptures scattered around the field, (One might call these monuments). There is an uncertainty, although they do have a poetic and an external power, a faculty by which the body can physically and emotionally engage with the viewer. But there is a lack of truth. You are probably thinking what do I mean about truth. Well, truth is the absolute veracity of a statement, its personal reflection. The work cannot connect with nature in the manner Henry Moore’s sculptures do. Moore’s sculptures embody nature as a spiritual entity. Miro’s outdoor pieces come into sight as a trophy cabinet in nature’s guidance. However, this is not a criticism, the work simply appears to have a different responsibility. Whatever its duty may be, it is beyond comprehension and the only hope of survival, is to find a common ground with nature. Whereas, the indoor exhibition is a memorial of pain, struggle, love, pleasure and humour, a divine sensibility, a collection of verbs – the work of a true gentleman.






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