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拍品专文
Conceived in 1975, Dame Elisabeth Frink’s series of Tribute Heads explore themes of suffering and endurance, inspired by the work of Amnesty International and the stoic resolve of the nameless figures around the world who have been persecuted as a result of their beliefs. The artist began this series shortly after her return to London following a number of years living in France, continuing her explorations into the same forms and subjects that had underpinned her Goggle Heads and Soldiers’ Heads sculptures. For Frink, the head was a conduit through which she could channel an array of emotions, one which allowed her to delve into the internal psychological landscape of her figures. As she explained: ‘Heads have always been very important to me as vehicles for sculpture. A head is infinitely variable. It’s complicated, and it’s extremely emotional. Everyone’s emotions are in their face. It’s not surprising that there are sculptures of massive heads going way back, or that lots of other artists besides myself have found the subject fascinating’ (E. Frink, quoted in E. Lucie-Smith, Frink: A Portrait, London, 1994, p. 125). Through subtle alterations from figure to figure in this series, Frink captures an insightful glimpse into the full emotional impact these experiences have on the individuals involved.
Works such as Tribute IV were seen as the personification of stoic determination, conveying not only the suffering endured by these men and women, but also their resilience in the face of persecution. Paring the features back to the minimal suggestion of its essential forms, the artist focuses our attention on the figure’s highly nuanced expression, eloquently conveying a careful balance of tension and serenity in their face. In this way, the figure at the heart of the present work retains a poise and dignity, as they defiantly face their torment. Frink, reflecting on this aspect of the Tribute heads, explained: ‘they are the victims, except that they are not crumpled in any sense…they’re not damaged. They’ve remained whole. No, I think they’re survivors really. I look at them as survivors who have gone through to the other side’ (E. Frink, National Life Stories: Artists’ Lives interview with Sarah Kent). In this way, Tribute IV can be seen as not only a testament to those who are living in dangerously repressive situations, but as a hopeful statement about the inherently human capacity for endurance, and the strength of belief and faith, when one’s freedom is challenged.
Works such as Tribute IV were seen as the personification of stoic determination, conveying not only the suffering endured by these men and women, but also their resilience in the face of persecution. Paring the features back to the minimal suggestion of its essential forms, the artist focuses our attention on the figure’s highly nuanced expression, eloquently conveying a careful balance of tension and serenity in their face. In this way, the figure at the heart of the present work retains a poise and dignity, as they defiantly face their torment. Frink, reflecting on this aspect of the Tribute heads, explained: ‘they are the victims, except that they are not crumpled in any sense…they’re not damaged. They’ve remained whole. No, I think they’re survivors really. I look at them as survivors who have gone through to the other side’ (E. Frink, National Life Stories: Artists’ Lives interview with Sarah Kent). In this way, Tribute IV can be seen as not only a testament to those who are living in dangerously repressive situations, but as a hopeful statement about the inherently human capacity for endurance, and the strength of belief and faith, when one’s freedom is challenged.