Exhibition By Wendy Cox (Press, 9 November 1985)

Wendy Cox's exhibition at the University Gallery, part of her bachelor of fine arts submission, showcases a diverse array of works including five large sculptures, five small maquettes, various constructions, drawings, and notebooks. The exhibition runs until 14 November 1985 and has garnered a review from John Hurrell. The sculptures, predominantly crafted from welded metal and finished in a spray of black, depict unsettling spider forms and equine figures. The eerie presence of the spiders, particularly with their sharp tips at eye level, creates a threatening atmosphere for unsuspecting visitors. However, the exhibition's organisation is noted as somewhat haphazard, with an overabundance of maquettes and stacks of drawings cluttering the space, potentially reflecting the challenges of exhibiting within an art school rather than in a more conventional public arena. Nonetheless, Hurrell asserts that this exhibition stands out as one of the most extraordinary showcases of a student's work publicly presented by the art school in recent years. The significance of the display arises from Cox's ability to weave complex ideas into her art. Her representations of women as spider figures or horse figures evoke numerous interpretations linked to nature and literature. The spider imagery presents a critique of male anxieties surrounding powerful women, suggesting associations with predation and dominance, particularly in reference to the female spider's practice of consuming males post-mating. In juxtaposition, Cox's horse-women embody two distinct forms: one is ensnared in corsetry made of metal and black lace, while the other amalgamates elements of the Trojan horse and Marcel Duchamp’s “Bride” works. These horse figures are perceived as symbols of empowerment intertwined with treachery, reminiscent of mythical Amazons and Centaurs, along with Jonathan Swift’s intelligent Houyhnhnms. The exhibition is rich with context, as photographs and notebooks depict the creation process of these artworks, highlighting Cox's intent to blend feminist discourse with traditionally masculine sculptural materials. The overall impact of her works, their compelling forms, and the deep, feminist political implications imbue the exhibition with a degree of significance not typically associated with the university's output. In summary, the review emphasises that the richness and thoughtfulness of Cox's exhibition render it an essential viewing experience, urging audiences to prioritise it amid the art offerings of the year.

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