Manon Steyaert
"…the pliability of silicone and how ‘illusionary’ it can come across to the viewer… creating works that are neither within sculpture or painting, but in limbo between the two."
Could you tell us a bit about yourself and your background? Where did you study?
I am French born (1996) fully practicing artist and moved to the UK back in 2003. I moved to London for my studies, originally starting with a foundation at Central Saint Martins to wanting to pursue Fashion, after not being accepted onto the fashion course I went on to study Fine Art for an undergrad. After 4 years at CSM I went straight into a Masters in Fine Art at Chelsea College of Art, pushing me to continue being an artist and now I am full time practicing and based out of my South Bermondsey Studio.
Your use of silicone as a medium for your art is quite distinctive. Could you elaborate on what drew you to this material, and how its unique qualities influence your creative process and the final outcome of your works?
Silicone came to my practice after experimenting with latex and not being happy the tactility of the material and outcome. I originally started to use the material at the end of my masters at Chelsea and was fascinated by its possibility to shine and pliability, and more than anything, that I could control the colour. After years of working with the material I am still curious about its properties and the endless ways it can be used, I am very drawn to the aesthetics and as mentioned above the pliability of silicone and how ‘illusionary’ it can come across to the viewer. The draping of the silicone reminds me of draping fabrics, leaning into the idea of dressing a canvas, creating a sculpture out of a painting. The process of pouring and colouring silicone is a process which has both meditative and restricting qualities, due to it being a chemical reaction it has a short curing time, not allowing much room for error. This push and pull dynamic is what keeps my curiosity burning with the material and I want to express this in creating works that are neither within sculpture or painting, but in limbo between the two.
Your work seamlessly bridges the realms of painting and sculpture, creating a distinct space for curiosity and exploration. Can you delve into how this blurring of boundaries informs the viewer's experience and perception of your art?
For me I have always been drawn to art that isn’t so ‘it is what it is’, where the layers are either physical or intellectual, enabling the viewer to investigate the surface of the work using they body, repositioning themselves to better understand it. I try and communicate this through the combinations minimalistic and geometric abstraction within the silicone sheets, draping them to create endless colour combinations within the folds. When pouring a silicone sheet it can very easily be seen as a flat abstract painting and when peeled off the floor and draped, it immediately becomes closer to sculpture, but not quite. The process of draping brings me back to draping fabric and the connotations of wanting to hide or reveal what is underneath, in painting it would be in reference to the stretcher bar. I primarily play on this notion with my floor based works, using silicone as the surface draped around a ‘skeleton’ wooden structure. I enjoy creating these works that have physical depth and create their own shadows, changing throughout the day and reacting with light and therefor the space. I want the viewer to have their gaze halted when walking through a space, using colours to interrupt the space and draw in the viewer in a playful way.
I see you!, 2023
Behind the curtains, 2023
'Passing Colour' (solo show at Annika Nuttall Gallery, 2023
Beneath VI, 2023
The interplay of colour and form in your work is visually striking, often creating near-psychedelic patterns. How do you approach the selection and combination of colours in your pieces, and what role do they play in guiding the viewer's gaze and interpretation?
Colour is at the core of my practice, even from the very beginning when predominantly painting and wanting to separate layers of colour physically, colour was the drive for my practice to enter the realm of sculpture. I have always found it fascinating how colour can steal away our gaze and draw us in or push us out to evaluate, interrupting a space and a viewer’s eyeline against a common white gallery wall. The selection of colour predominantly comes the environment around me. I find it to be influenced by seasons changing and how naturally colours changes within that time. It can also be from moments of pure randomness, for example when something has caught my eye and I just can’t look away. I think becoming more self-aware and present in everyday life has driven me to observe colour more intentionally.
Tell us a bit about how you spend your day / studio routine? What is your studio like?
My studio routine is a pretty basic one, either cycling or driving to get there (South Bermondsey), always beginning by giving the studio a bit of clean, especially if I poured silicone the day before. My studio to me is my safe space, with wooden floors, high ceilings and beautiful windows letting lots of natural light in, I feel it to be a great space to create work. My studio can get a bit chaotic sometimes with the variety of tools I have and projects taking place alongside each other. Between making wooden canvas frames and pouring silicone a process that is not friendly to dust, I have to clean the studio every day. Even though I love my studio and happily come in everyday of the week I do find the urge to sometimes be in a new space, pushing me to experiment with my process and expand my research.
Ma Toile, exhibition 'Soft Spot', Eve Leibe Gallery, 2019, (location - Numero Venti), photo by Daniel Civetta
Wrap around me
Salon Overflowing Colour II, 2022
What artwork have you seen recently that has resonated with you?
So the artwork sadly I haven’t seen in person, but it has brought on lots of inspiration for my practice. Lynda Benglis’ knotted forms have informed the way I look at my work and the need or to push away the need for a classical form like the rectangular frame. Her knotted works evoke this sort of tension within materials that I love to investigate within mine, the power dynamics of support and surface.
Is there anything new and exciting in the pipeline you would like to tell us about?
I have a solo show this year in Stockholm where I am really excited to show some new works that are inspired by the process of knotting, like in Lynda Benglis’ work. The show is to be titled ‘Magpie’, reflecting on my curious eye and being especially drawn to shiny elements. The title of the exhibition is almost a dedication to my younger self and leaning into ones desires and not being afraid to expose said desires. I feel like femininity has become more and more present in my work and wanting to explore femininity within sculpture a bit further, along with the ideas of the “Language of Drapery” with the body, however it may come to life. I will also be moving to Berlin for three months for an artist residency, this will be my second residency and cannot wait to explore such a diverse and rich art city. I feel like I need a bit of a shake up, I am a person who likes a rhythm/routine so going somewhere new may push me outside my comfort zone.
All images are courtesy of the artist
Date of publication: 16/10/2023
