Artist Nancy Spero (American, born 1926) has been living in New York since the 1950s. Her highly respected body of work celebrates the place of women in society and powerfully comments on oppressive political situations. In her project for point d'ironie , Spero recycles found imagery from her collection of female icons (past and present) to suggest points of connection between the archetypal and the commonplace worlds of contemporary living. Thus we find Ancient Egyptian flute and lyre players crossing contemporary athletes, some of whom seem to be migrating, leaving their support, litterally dancing off the paper. She puts mythology into motion in a non-academic way that points to enlarging our vision of femine roles.
In conversation with Hans Ulrich Obrist: …I have done many wall installations in various cities. I had some unimaginable spaces to work in, and the more irregular the better. I wasn't interested in the white box of the museum. For a while, my main work was hand printing on the walls with a system I devised, using a soft material, a polymer, like a rubber plate, and pushing them on the wall. It's very tranchant. It was like an invited graffitti. And it's mostly nomadic, because once the show is over, it gets painted over. It's totally finished except for the documentation. It's such a great contrast to work in the reduced space of the point d'ironie. In the point d'ironie the figures, both the running ones and the static ones, are playing around the space; they have a dynamic, floating identity. The smaller figures are miniatures of the others, scaled down populations from my "jewel boxes". They are like jewels in a way because to prepare them, I had to use a very technical, almost surgical procedure. They go from the antique to the contemporary. I don't know about