Foxx Originals
Organic sculptures individually handcrafted and designed by Ainsley Foxx
Artist Bio
Ainsley Foxx
My name is Ainsley Foxx and I’ve been a professional artist since 2015 and have recently moved and began working out of my studio in the suburbs of Melbourne, Victoria. Every piece I craft is unique; from the shape, the finish and even the firing process renders its own distinctive signature; meaning every piece is truly unlike any other. My works explore the human form and challenge the sociological expectations of Western culture.
An original is a creation motivated by desire. Any reproduction of an original is motivated by necessity. It is marvellous that we are the only species that creates gratuitous forms. To create is divine, to reproduce is human
- Man Ray
Behind the Sculpture
Works from exhibition 'Define: Perfection'
The works of Ainsley Foxx in her exhibition ‘Define: Perfection’ gravitate around the idea of ‘perfection’ and how its perception influences Western Society. While initially from Geelong she has lived internationally in Germany and Thailand where different cultures challenged what was familiar. This sparked her artistic venture, which developed into experimentation with many different mediums. She began with photography, etching and silk-screening until discovering her passion for ceramics.
The main influence on Ainsley’s artwork came from her inquiry into what constitutes as ideal; coupled with detestation of prejudice, hypocrisy and injustice. In this exhibition her work primarily questions the constant struggles of women in Western culture as unobtainable expectations of 'perfect’ and ‘body-image’ are projected through the media which further the disintegration of self-value and self-worth. Ainsley was also drawn to question social phenomena such as homophobia, materialistic obsession and the importance placed on the superficial.
Infertility
Stoneware Clay, Glaze, Imitation Ivy
Geelong, June 2015
“Infertility” is not necessarily limited to being a representation of the struggle of infertile women but also the struggle of homosexual couples that long for children themselves. While society is continuously developing a more accepting mentality; still remaining is negative stigma associated with homosexual couples having children or adopting. The red symbolizes this struggle, the boldness of the color communicating the rawness of the pain felt, which in conjunction with a ripped middle, this piece symbolizes the unconventional situations such individuals find themselves in. Reflecting the nature of these circumstances as they are different from the so called ‘norm’, the torso opens up in a different place as to where conventional childbirth would occur to highlight this difference. The ivy growing out of the gap is symbolic of new life and hope for those wishing to raise children.
Broken
Stoneware Clay, Rust Base, Glaze
Geelong, June 2015
“Broken” essentially highlights the battle often associated with homosexuality and the concept of community acceptance. Irrelevant of pending marriage rights, there still exists social awkwardness and judgment that impacts the lives of many on a daily basis. The raw shape left in the clay after exploding in the kiln was a chance happening; a small explosion left behind a dislodged heart in its wake. This is a dramatic expression of the powerful love that is sometimes suppressed. The position of the heart neither located in the typical position in the upper chest, nor symmetrical or aligned, communicates the feeling of difference, segregation, and the longing for free expression of a love that is as equally valid as conventional couples. The importance of inclusion in our community coupled with acceptance without judgment is something to yet be broadly achieved in society, and this work epitomizes that.
Stolen Innocence
Terracotta Clay, Glaze, Imitation Ivy
“Stolen Innocence”, while initially presenting a sweet impression, with the delicately placed flowers, this piece represents something much more disturbing. The stolen innocence of children is a major issue in our society that is overlooked or merely thought about briefly in many instances. The flowers bursting from the crack symbolize the forceful nature of innocence of children being stolen. The poignancy of this issue is reflected in the mottled gold tones that are dulled by the darker areas, as the brilliance of hurt individuals is blurred in their sufferings of the past. The jagged marks in the clay work on either side also represent the psychological scars that are left behind after a child has been taken advantage of.
Bound
Stoneware Clay, Verdigris Base, Barbed Wire
“Bound” features a unique, genuine aged piece of barbwire that exclusively defines this piece. It has an earthy feel and its own history, a natural one, however manmade materials bind it. This is mimetic of the way that the perceived expectations of perfection bind and constrict our ability to be authentic to ourselves and instead conform to what we are told is ‘beautiful’.
Expectation
Terracotta Clay, Acrylic Paint, Gold Leaf, Satin Varnish, Sealer
“Expectation”, being of male form this piece is immediately different to other works. The flaked gold throughout the body are not uniform with the natural flow of the muscular body. This is because there is not a uniform ideal of who a person is, and what one expects of themselves. This sculpture speaks to the issues revolving around self-doubt, low self esteem and harsh critique we place on ourselves. The golden flakes are also symbolic of the feathering of a beautiful exterior that is disintegrating with every self-doubting critique.
Define: Perfection
Five Clay Sculptures, Mixed Media
Feature Works from Exhibition held at the Geelong Courthouse
Own an Original
For consultations, inquiries and custom designs, contact us to arrange an appointment.
0400916428
