Psychological Mosaic Sculpted and Re-arranged

The child playing at adulthood

Judith Peck, Child and Doll
Judith Peck, Child and Doll

From the point of view of child’s intuition, child with doll here is, in essence, mother with child – Judith Peck represents the child’s construction of mother-child togetherness. We can discern in this composition three aspects of child-doll connectedness – their similarity (their roundness, egg-likeness, signifying child’s still elementary contact with the external world and her potential for future development), their difference (even when the little girl is not looking at the doll, she has the expression of looking at it, and this contradicts the “passive” face of the doll “who”, as if, is just showing itself without seeing anything), and their allusion to the primary mother-child couple. The concentration of child’s mouth is a sign that visual function (how the child’ [mother’s] eyes are beaming!) is, psychologically, the heir of oral concentration – because the child unconsciously plays her mother this smiling strain of the mouth is a reflection of mother’s identification with suckling. The position of mutuality between the child and her doll imitates the lovely embrace of mother and child. What mother and baby, or girl and her doll (or the sculptor and two pebbles) need for happiness is only a tiny space of the size of their perception.

To settle in destiny

J. Peck, the Parents
J. Peck, the Parents

For some reason, may be, illness of their child, both, mother and father are suffering, but the point of the sculpture, it seems, is the difference in their reaction towards what destiny has in store for them. The mother suffers while continuing to feel herself inside their situation, while the father is turning away (for him it’s unbearable to see what his wife is able to endure, or, may be, he is appealing for god’s help?) Whatever is happening, the mother is bonded with it, while the father is turning away even if he wants to help. Women, traditionally, are more symbiotic with what happens in the family, while men by generations used to share his passions with social life. Women still tend to be more emotionally sedentary.

Swings of life and little classification of “personalities”

J. Peck, Personalities
J. Peck, Personalities

The figure we see on the left is simultaneously, as if, climbing up and running, where the action of climbing belongs to the content of this sculpture/installation but the action of running – artist’s characterization of the action of climbing, a metaphor of it. In other words, the person climbing up is rushing to achieve his goal. The next person is, a kind of, obsessed with movement as such (life as such) – moving ahead follows moving back, and again and again. His both legs are balancing these two movements by permanently controlling the push of the swing ahead and back. The third figure is experimenting with upside down vision of reality (this individual likes to see reality from an unusual angles). And the fourth personage is a kind of a conqueror of the abyss, who likes to play bird or a pilot. To resume, on the left of the composition we have an impatient career/success builder, to the right of him – a person living by his own vitality, enjoying the very process of living, then – a creative person (who likes to look at life in unusual way), and the farthest right likes risks and winning through taking risks.

Triangle

Judith Peck, Personalities
J. Peck, Friends

In this sculptural installation we see, it seems, two young men (on the left and in the center), and the woman. The male figure on the left (whose body is turned away from the woman but face turns towards her), is just a friend but with a dream about an affair with the woman on the right (who is elder). The central male figure, whose face is turned away from the female figure while his body is generously opened to her, is, conversely, already having an affair with her and a little worried about his male friend’s chances. But the woman plays queen and the chooser.

Melancholy of personal happiness

Judith Peck, Sanguine Lovers
J. Peck, Sanguine Lovers

“Sanguine lovers” look a bit depressed while in the same time are quite satisfied by their togetherness. The slight melancholy corresponds to their sanguinity and, may be, is a result of the fact that they are actually happy inside their private life. They “reciprocally” cover the private parts of each other with their palms – make their sexual unity their destiny (they guard their happiness from the world). Their eyes are closed – it isn’t much for them to look at: they have each other. The artist problematizes a “privatized” happiness, makes it ambiguous, as if to emphasize that a private love is not enough for today’s subjects, in today’s world.

Dancing seen, as if, from inside the dancer

J. Peck, Dancer
J. Peck, Dancer

By the magic of the creative imagination the artist “sees” the dance, as if, from inside the female dancer’s body. She makes the feeling the dancer can have of her dance – visible. She shows somatic sensations of the muscles of the dancing body, into which the dancer blows her excitement like a musician – air into a wind instrument. She shows blood rushing to nowhere in the blood vessels, the euphoria and beauty of the body bended on the verge of breaking itself according to silent music of the tissues obedient to the laws of harmony and to a call for its transgression. The body is ready to die in ecstasy but rationality of rhythms and poses stops it from the abyss. The torso is stopping the hips-and-thighs, like a rider the rearing horse.