Sadie Hennessy: More Strange Hungers at A Brooks Art
In an industry which celebrates those assured of their own lofty genius with lamentable regularity, it is refreshing to see such a dark, irreverent exhibition as Hennessy’s.
In a witty revamp of 1960s beauty, Sadie Hennessy has transplanted the ubiquitous contemporary sexualisation of women on to a platform which traditionally is much more dependent upon inference and suggestion. The exhibition at A Brooks Art is as such a look at icons of recent history through a contemporary lens. The exhibition itself is not particularly large, however, the selection of works on show are well chosen and arguably sufficient to communicate the artist’s intent.
The exhibition fundamentally focuses on issues of feminism, and works such as The Time to be Lovely…Always approach what is clearly a serious matter without appearing to be burdened by a moribund gravity. The Betty Bothways series attacks questions of gender in an equally light-hearted manner, making reference to other montage artists, principally John Stezaker and his 2007 series, Marriage.
The diminutive size of the gallery clearly lends itself to an intimate experience, and furthermore the quality of the works results in an enjoyable exhibition. However, this intimacy also has the effect of producing an exhibition with a limited scope. All of the works are witty and well thought through, yet there is a feeling that there could be much more than is on display.