Thick ropes drift through the Weston Gallery at Yorkshire Sculpture Park, climbing walls, looping through pulleys, and collapsing into heavy coils. Some hang taut as if still being pulled, while others spread across the concrete like resting bodies. In “Rise,” British artist LR Vandy fills the space with rope sculptures that never quite settle. Even standing motionless, they appear caught mid-action. At the exhibition’s heart sits “A Call to Dance,” a monumental maypole whose braided strands cascade from a metal ring, gathering densely on the floor.
LR Vandy works with rope from her studio at the historic Chatham Dockyard. These maritime fibers carry with them hints of their history—ships, cargo, hard labor—without needing explicit illustration. The rope feels sturdy and architectural, yet at times, frays into delicate strands. “The tactile quality of rope is defined by tension,” Vandy explains to Designboom. “It relies on strength while remaining malleable, always pulling, never pushing.” Both the physical and emotional tension remain visible throughout the exhibition.
Communal rhythm woven through ‘A Call to Dance’
In the gallery, you might struggle to determine if the forms are tightening or relaxing. Some structures lean awkwardly, affected unevenly by gravity, while others sway gently. Sculptures mimic bodies mid-turn, or dancers paused a beat too long. The maypole, tied to May Day celebrations across Europe, evokes communal gathering, dancing, and festivity. Yet, these collective movements often spark unease among authorities. Vandy comments on dance as a social binder, persistent despite historical attempts to suppress public gatherings—from medieval Europe to modern Britain. “Dance creates bonds that support cultural continuity and collective strength,” she says.
Tension, release, and improvisation in the gallery
Rope runs the gallery walls, disappearing into hooks and metal fixtures, linking sculptures. Spindle-like structures rise toward the ceiling, with indigo threads and maritime fragments. The material suggests a movement through industries and histories without overstatement. What remains strongest is the sensation of suspension. The sculptures hover between freedom and restriction, drawing you in with the softness of rope while hinting at the tension holding everything together. “I think freedom, in this context, is something you feel rather than fully resolve,” Vandy reflects. “The bodies in the work aren’t fully unbound. They’re on the edge of release.”
Much of “Rise” evolved onsite, with forms adjusting to the gallery architecture. Over 30 kilometers of rope were used, with Vandy collaborating with technicians during the creation process. “The project wasn’t fully resolved before we began,” Vandy shares. “We were creating, problem-solving, and building simultaneously.” This improvisational spirit echoes throughout the works—none appear fixed; they could shift again when the room is empty.
Tenderness permeates “Rise.” It’s not soft like something fragile, but soft like something worn and repeatedly pulled apart. Joy exists here too, inseparable from exhaustion, pressure, and history. Vandy refuses to untangle these elements within the material, letting them coexist in tension.
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Source: designboom.com