V&A’s latest show The Power of Making is a thoughtful showcase of modern craftsmanship and its relationship with imagination.
While the theme is nothing new, I’m struck by the choice of objects in this collection. From gigantic wool knit, a gorilla made of metallic coat hangers, bio-degradable coffins to spray-on fashion, the objects question the boundaries of conventionality and unconventionality, celebrate the play of imagination and such application in different industries. By putting objects outside of their typical contexts, they acquire an exciting dimension. An oversized piece of chunky wool knit displayed on the wall becomes an artpiece in itself. Layne Rowe‘s glass hand grenade is startling, making a social statement out of it. It is almost impossible to imagine the blood that will be spilt with a hand grenade. Equally, Dominic Wilcox‘s gloves with finger prints on the rubber pose a most threatening question: where lies the limitation of the manmade?
The show pays tribute to the value of traditional craftsmanship – teasing objects out of wood, paper, metal, glass, fabric… – providing the fundamental work platform for contemporary designers. I remember Leung So Kee in Hong Kong, so famous for its handmade umbrellas, and the undying fashion of handmade objects in the western world, how you can hardly place a price to something handmade. At the same time, the exhibition reminds one of the necessity of imagination in elevating and transforming a piece of work.
Looking at the pin-dress created by Susie MacMurray, I am impressed by its curious texture and authenticity of skill. From afar, the dress seems to breathe a life of its own, taking on the guise of a half-woman, half-bird sculpture.
Altogether, it is a far better show than other recent exhibitions (such as the shows on the Cult of Beauty and Yohji Yamamoto‘s work) put up in the same venue, with more engaging narrative and clarity in presentation.
At the main entrance of the V&A, Amanda Levete‘s sculpture, Timber Wave, stands, beckoning at the passers-by, a commissioned piece from this year’s London Design Festival. Its contemporary design of wooden loops is somewhat at odds with the ornate architectural style of the V&A. I was expecting something more striking and poignant, something that interacts with the venue, such as Louise Bourgeois’s black spider or the rolling bridge by Thomas Heatherwick.
Exhibition at V&A from now until 2 January 2012.