Conceptual artist Sarah Misselbrook
Welcome to the website of artist Sarah Misselbrook. Misselbrook’s multi-media practice attempts to address issues surrounding gender, feminism, the female ‘body as canvas’ and ‘consumer’. The artist currently works from her studio in Riba-roja d’Ebre, Catalunya.
Misselbrook is interested in individual control and consumption. Obsessive and routine acts of measuring and perfecting envelops both her creative process whilst commenting on the disciplined quest for an unattainable bodily ‘perfection’ and simultaneously questioning this concept. The use of chocolate, soap, latex, soil and wax, degradable or edible materials, present the artist’s obsession with the seductive yet repellent nature of human anatomy. The juxtaposition of hard against soft and sensual against skeletal has become Misselbrook’s visual language of a struggle within and of a body.
The artist’s degree show presented ‘Followed’, a skeletal vertebrae cast in white chocolate morphed into a pair of cupped hands as though waiting for absolution. ‘Monthly’, documenting the artist shaving her head and ‘Pure’, the artist’s torso cast in soap, routinely washed away in exhibition. In 2004, ‘1m2’, a cast of the artist’s body was produced in response to a call for entries which limited the work to a metre in any direction. The work is strapped into a steel cage and spikes aggressively defend it. This work has since been exhibited in an underground medieval vault, the Southampton City Art Gallery and The Crypt in St. Pancras Church. In 2006, a solo exhibition at the Bargate Monument gallery presented ‘Misplaced’, depicting the artist in a steel cage, her elongated arms ending in knife and fork attachments, and ‘Self Conscious’, a looped video showing the meticulous self-policing of the artist’s face.
Misselbrook’s Masters degree show included a large scale sculptural installation and recorded performances conveying educational, religious and submissive acts in quests for ‘perfection’. This structured behaviour and performance is providing a new dimension for the artist, opening up her practice and interrupting controlled processes and displays. Misselbrook is now developing a more socially engaged practice exploring the political act of self starvation in feminist art and relating this to the disordered psychology of the anorexic ‘patient’ as well as ritualistic social gatherings and experiences within the making process.