all in: bodied – a love letter to the female-identifying body in motion

Balloons by Grace Nicol at Victoria and Albert Museum Performers Becky Namgauds, Steph Be and Gabbie Cook Image by Nina Robinson

A collaboration between artist ZoëMarden, designer Sinéad O’Dwyer, choreographer Grace Nicol and dance artist Becky Namgauds, all in: bodied is an exhibition curated by Bryony Stone and supported by Melissa.

RCA MA fashion grad Sinéad O’Dwyer continues her industrial practice of using fibreglass moulds as a means of construction with two custom-designed garments to be worn for live performances by solo artist Zoë Marden and choreographer Grace Nicol, performed by dance artist Becky Namgauds, on the opening night of all in: bodied.

After the opening night performances, the silicone forms bearing the lifecast shape of Sinéad muse’s Jade Bruce-Linton’s body, worn by ZoëMarden and Becky Namgauds, will be repurposed as sculptural reminders of the female body in motion. They will be displayed in the Galeria until Sunday 21st October along with a video work by Zoë Marden commissioned by Bryony Stone for all in: bodied.

all in: bodied is a love letter to the female-identifying body in motion: the way she occupies space, the infinite variation of forms she takes and the way she moves through the world. 

Grace’s live work for all in: bodied, Slip Mould Slipperywill respond to Sinéad O’Dwyer’s garments, exploring the violence of troubling the object / body distinction. The work will consider how the specificity of Becky Namgauds’ female body, layered with the lifecast shape of Jade Bruce-Linton’s body can stand in for all female bodies and find power within the collective notion of self – body, object and experience.

Zoë Marden’s video work, entitledteras, the greek word for monster, is a dedication to the Mermaid and its cousins throughout history in all of their interspecies morphology. The Mermaid blurs the boundary between women and fish, femininity and ferocity, land and sea, human and other. These mythological creatures transgress the borders between human and non-human with their carnal appetites spilling over to challenge notions of the feminine.

Sinéad has developed each performers look in dialogue with their current practice and previous work, referencing Zoë’s distinctive use of colour and texture and Grace’s dialogue between the body and object and use of rich materiality.

all in: bodied follows all in: the mind and all in: progress as the latest iteration of Bryony Stone’s IRL platform all in:

all in: bodied is supported by Melissa.