Wound

Genie Poretsky-Lee’s Spheres are worlds. On the one hand they are like planets, revolving in space; they have their own oceans and continents, mountains and canyons; they are little gaias, intensely alive. Concealing seeds within themselves, some of them (after several months of apparent dormancy) have even begun to sprout shoots like living trees. On the other hand, they are like thought-forms, measuring and meditating on the passage of time. Engaging in a ritual repetition of the gesture of winding – succumbing to a destiny or murmuring a prayer – Poretsky-Lee turns them over in her mind as she turns them in her hands. While they evolve – ‘rolling out’ towards a state of ever more substantial material being – so they are also profoundly involved, wrapped up in themselves and realising her contemplative involvement in the process of their generation. Bypassing the self-conscious notion of ‘art production’ in an almost compulsive way, they resemble the work of an ‘outsider’, eternally dressing an unhealable wound. But while they conjure up a sense of the archetypal witch, who spins her thread and effects the inevitable passage of time, they also suggest the silence and stillness that followed when the unsuspecting princess pricked her finger on the witch’s spindle and became the Sleeping Beauty for one hundred years, before awakening.

Poretsky-Lee’s Spheres are also meditations on the nature of substance, living explorations of the nature of matter. They are made not so much of the classic poetic materials that are already loaded with associations of dignity by the history of art – marble and bronze that lend themselves so well to the expression of noble and refined ideals – but the guttural materials of shredded fabric and string, plastic and plaster that reflect more urgent and primitive acts of formation; more female, more private. Like pulses, her Spheres are amorphous and unborn, but beating like hearts.

Poretsky-Lee’s publication Spheres: A Path of Many Windings (2013) conveys a sense of her fascination with the process of making. Although the book reproduces a number of the Spheres, it also closes in on some of them to the extent that the viewer also has to surrender the idea of them as distinct, discrete objects and sink into the incomplete and unfinished process of their becoming – poring over their broken surfaces, their ancientness, their primitivity, their incoherence as utterances. They invite us beyond the safe parameters of the familiar – in which we implicitly seek to find ourselves safely reflected – into the primal and formless depths of the imagination in which forms arise.

By Andrew Spira – Senior Lecturer and Programme Director at Christie’s Education

Author of Russian Avant-Garde Art and The Icon Painting Tradition

2017 April 25th

Joint Exhibition at Daniel Raphael

2017

Exhibition at Museum of Goa

2015

Exhibition at Lotus Studio

2015

Coming Home on display in Barcelona

2014
Imprint video collaboration at Candid Arts

2013
Antara at Lumen United Reform Church, Bloomsbury, London

2013
Transition-The Endless Knot installation at Lotus Studio

2012
Infinite Variety “from head to stone” exhibition at Lotus Studio

2012
Collaboration / Mixed Exhibition at Lotus Studio

2011
WOMEN ON FIRE at Central Westminster Hall

2011
Harmonic Spaces collaborative exhibition at Koukan Gallery, Muswell Hill, London. Sound by Lawrence Ball

2010
Three+ exhibition at Kala Academy Panjim, Goa, India.
Genie Poretzky-Lee, Aruna Witte and Geoffrey Witte

2009
Time/Space Continuum at the Koukan Gallery, music Lawrence Ball, words Aidan Andrew Dun.

2008
Image of Sound with music by Lawrence Ball at Lotus Studio

2007
Anonymous Words with music by Lawrence Ball at Lotus Studio

2006
Cube Gallery – Peninsula Art Plymouth University
Exhibition of 16 paintings celebrating Alchemy

2003
Residency at Gozo Contemporary – Malta. Talk at the University of Malta, “In defense of Abstraction”

2002
291 Gallery – Hackney, London
Founder of the Lotus Foundation www.lotusfoundation.org.uk

2001
Talk at Hawkwood College. Stroud, Gloucestershire, “A personal approach to Abstraction and the Spiritual in Painting”.
Exhibition – Le Salon des Arts, London

1999
Drawing exhibition – Steiner House – London

1992
Open Studio

1990
Started painting in private studio

1989
Miniature Textile Exhibition – Szombathely, Hungary

1985
Mixed Exhibition – Krakow, Poland

1984
Textile Art Exhibition – Abbotsbury Hall

1983
Mixed Textile Art Exhibition Sainsbury Centre – Norwich

1981
Founder member of Fibre Art – London
Mixed Textile Art Exhibition Round House Gallery – London

1975 – 1978
Weaving training with Wilmma Hollist-Mc Kerlie

1959
Graduated from the Academie Julian – Paris. Art and Sculpture
Taught at Westminster Adult Education Institute for over 10 years as textile artist. Qualified therapeutic healer. Traveled widely to India, South America, USA and Europe. Work in collections worldwide.