The following Introduction and Guest Curatorial Essay appeared originally in the Catalogue for my solo sculpture show Transient Statesat the Art Gallery of Northumberland and are re-produced here with the permission of the AGN and of the two authors.
It is certainly a familiar theme, the urban artist who moves to the country where her aesthetic sensibilities are refreshed and renewed. The change in environment has had an unusually intense effect on Merike Lugus. Direct physical interaction with the landscape, on both an intimate and a grandiose level, altered her ideas about space; expansion into sculpture seemed almost inevitable.
There are, of course, many links to the 25 years that Lugus spent primarily as a painter in oils. The human figure and human relationships have been, and remain, an important focus. Lugus is particularly sensitive to the expressive potential of the human form, especially the strength of specific details of gesture and facial expression. The power and the joy of rich contrasts of colour and texture are also fundamental to her works and are evident in her variety of surface treatments and innovative combinations of materials.
The AGN has a commitment to exhibit the work of outstanding regional artists, and a parallel commitment to bring work by contemporary artists addressing current issues into the Gallery. It is thus a particular pleasure to present this exhibition of Merike Lugus' sculpture, for her work is both provocatively contemporary and intimately related to Northumberland County.
I would like to thank Heather Ardies for her commitment to this exhibition which she initiated and planned while she was Curator of the Art Gallery of Northumberland. She has continued her involvement as Guest Curator and written a knowledgeable and insightful essay. David Hunter has put many long hours into the design and production of the catalogue and Normunds Berzins into the photographs. Merike Lugus, besides producing a truly astounding body of work, has given freely of her time and energy to make this exhibition possible. It has been a pleasure to work with such an enthusiastic team.
Rhona Wenger
Director/Curator
Art Gallery of Northumberland
For an artist the desire to explore a new medium of expression can be a compelling aspect of the creative drive. Moving from Toronto to the Northumberland Hills proved to be a such a catalyst for Merike Lugus. An accomplished and proficient painter, the physical presence of the landscape around her inspired Lugus to turn to three dimensional work. The result of this experimentation is the series of thought provoking sculpture highlighted in this exhibition.
In these works Lugus combines modern materials such as fibreglass and epoxy with materials gathered from nature. Her sometimes disquieting work questions the current state of the human condition and examines the relationship between our yearning for stability versus the inevitability of growth and development.
Lugus is highly conscious of the physical qualities of her materials selecting them both for their formal quality and their metaphorical potential. Once she has made a mould she finds aesthetically pleasing, she experiments with different ways of manipulating it, stretching her medium to its physical limits. In each of her works Lugus solves a series of different problems, both aesthetic and technical, at the same time ensuring that each piece maintains its integrity and is unique.
In Double Skin two thin fibreglass torsos are connected by exposed screws. The fragility and transparency of the medium as well as the sheltering manner in which one shell shields the other, suggests the vulnerability of the human condition in both physical and psychological terms. This work was a precursor to Valerie where again she creates a seemingly fragile form and yet still evokes an integral, underlying strength.
A common theme running through Lugus' work is transformation - both material and spiritual. Metamorphosis is a female figure enveloped with tracery that suggests a cocoon. Her hands, which emerge from the cocoon and face her chest, evince self-containment. Her closed eyes and serene expression suggest meditation. Metamorphosis represents those pivotal junctures in one's life when one must look inward to decide upon a course. In speaking of the work the artist refers to these as spiritual moments when others must withdraw.
The theme of containment/cocooning is explored in several of Lugus' works including the Nests/Pockets series. Inspired in part by rocks she has found on her country property, Nests/Pockets I, II, and III reflect the artist's interest in natural materials. She has brought the form and essence of the rocks into her work. The cavities of the rocks, filled with organic material, suggest nests and reflect a concern with security, safety and nourishment, themes which are elaborated further in other works. Lugus has used strident colouring on the works to imply the dual nature of the nest or other symbolic place of refuge. It may provide sanctuary from the outside but it can also harbour a darker aspect in return for that protection. The cost of nurturing and protection is further developed in Nests/Pockets V in which the figure of a mature woman is positioned on a form resembling a cross. Empty pockets have been incorporated into the work in place of the woman's breasts encouraging the viewer to speculate upon the cost, both psychic and physical, of providing life, nourishment, and security.
In Exquisite Bind Lugus examines a different aspect of our desire for security. The figure is bound, yet on closer examination one discovers that his ties are secured by only a thin reed easily broken. This work suggests a situation from which there seems to be no escape when in fact escape is possible with little effort. The work implies that agonizing over the familiar is sometimes more appealing than breaking one's fetters to move onto something new. The artist renders the exquisite torment of such a situation palpable in the expression on the figure's face.
Odyssey is a complex work that can be read on several different levels. It evokes the dichotomy of human nature - our aspirations for ourselves versus the reality of our existence. The computer chips and mouse suggest our current fascination with technological advances. Yet the manner in which the work is firmly anchored to the ground and the organic contours of the body remind us that we are still bound by our physical appetites for food and sex. On another level the work expresses unease or confusion with the direction we are taking as a species in our evolution. Will we become entirely driven by technology or are we capable of developing in a spiritual sense as well?
Lugus develops the theme of self-containment and protection further in Odyssey and suggests another impact of technology, that of withdrawal into oneself. Self-protection has undertaken a new meaning in the 1990s as people speak of 'cocooning', seeking security in their homes rather than risking the world. The chips and mouse suggests the change from direct personal relationships to relationships through the computer. In reflecting upon these issues Lugus questions how much we have in fact advanced in terms of the quality of our lives and how much we justify in the name of progress.
In this series of works Lugus presents a fascinating perspective on the nature of the human condition as we enter the twenty-first century. Aesthetically powerful, her work inspires speculation that does not advance absolute or ready made answers. Instead they send us on our own self-reflective journey.
Heather Ardies
Guest Curator