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Hanako O’Leary’s bowl art turns heads, abundant like how age-old Greek sculptures of the animal anatomy still do.
O’Leary, 31, expresses avant-garde feminism through sculptures, analogy and her Japanese ancestry. “Izanami,” on affectation Jan. 13 through March 19 at Edmonds Community College’s art gallery, is some of her best evocative assignment yet.
“I feel like my bearing has added voice, added abandon and added abandon than any bearing that came afore me,” said O’Leary, who is half-Japanese.
“Izanami” will affection two alternation of six sculptures aggressive by Japanese folktales, belief and imagery, but with a feminist twist.
“Battle Mask,” the aboriginal series, resembles Hannya masks from Noh theater, a anatomy of classical Japanese opera dating aback to the 14th century. The acceptable affectation is an classic of a woman’s acrimony and affecting strife, with bull-like horns, brownish eyes and a leering mouth.
But O’Leary subverts this adumbration by putting vaginas area the faces should be. She said her absorbed was to claiming society’s anxiety with changeable genitalia, while analytic the basal fears associated with it, abnormally back “our apple is abounding of phallic symbols.”
This affair continues in the additional series, “Venus Jar,” which was aggressive by Buddha statues and a Japanese adventure from the 19th aeon about a charlatan who is bedevilled to perish at sea in a aberrant ship.
One piece, “Utsurobune, Hollow Ship,” shows a barge with 22 accoutrements ascent from it with capricious duke gestures, some of which are sexually evocative or represent forms of prayer. In the average is addition vagina, admitting beneath arresting than those on the masks.
O’Leary, of Seattle, said the added acute aspects of her assignment are about adulatory the animal form, agnate to how sculptors in age-old Greece portrayed gods and goddesses. Her ambition isn’t to accomplish you uncomfortable, but rather accomplish the accountable beneath taboo.
“Muscles and butts and faces are beautiful, and so are vulvas,” she said. “I aloof appetite to represent it that way.”
O’Leary’s sculptures are fabricated of clay, but alter in designs, patterns and shades of coat and casein paint. Each allotment takes up to four months to make.
The affectation is called afterwards the Shinto goddess of conception and afterlife who died while giving bearing to blaze and was afterwards beatific to the underworld. O’Leary, absorbed by the mythology, said her works are interpretations of what the branch could attending like.
“This is a way to brainstorm a heroine’s adventure and what it’s like to be a queen of this branch and an almighty adjudicator of this universe,” she said.
O’Leary affronted to art from an aboriginal age as a way to accord with her affections — a convenance that agitated able-bodied into adulthood. She started alive on “Izanami” anon afterwards accepting an aborticide two years ago.
O’Leary said she created the aboriginal piece, “Utsurobune, Hollow Ship,” while affronted about society’s antipathy for the procedure. As the alternation progressed, however, her focus affronted to allotment women’s rights to ascendancy their bodies and to breach bottomward gender-based ability structures.
She hopes her efforts will additionally pave the way for approaching artists who accouterment arguable subjects.
“I feel empowered that I’m somehow accidental and casual on article that helps the abutting bearing do an alike bigger job,” she said.
Evan Thompson: 425-339-3427, [email protected] Twitter: @ByEvanThompson.
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Hanako O’Leary’s exhibit, “Izanami,” will be displayed Jan. 13 through March 19 in Edmonds Community College’s art gallery, which is on the third attic of Lynnwood Hall, 20000 68th Ave. W., Lynnwood. The arcade is accessible from 7:30 a.m. to 9 p.m. Monday through Thursday, until 2 p.m. Friday and from 1 to 5 p.m. Saturday and Sunday.
An artist’s accession is set for 3 to 5 p.m. Feb. 21 at the gallery. Find added about the artisan at www.hannyagrrrl.com.
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