Holly Vaughan

Holly Vaughan

SIREN

SIREN 2016 Film Still. Model: Harley Budd

SIREN 2016 Film Still Model: Harley Budd

SIREN 2016 Film Still. Model: Harley Budd

SIREN 2016 Film Still. Model: Harley Budd

SIREN 2016 Film Still. Model: Harley Budd

SIREN 2016 Film Still. Model: Harley Budd

SIREN 2016 Film Still. Model: Harley Budd

SIREN 2016 Film Still. Model: Harley Budd

" I came to London in 2011. Just before I came, I was given the opportunity to learn glassblowing. I was working under an Artist, Lee Proctor who is a sculpture and he also makes furniture. I would go to his workshop where two other Artists worked as well and we would just create – listen to music – someone would create a piece and we would all go over and check it out and celebrate with them. Then carry on creating and celebrating. It was so beautiful and that is when I knew – I am an Artist, I have always been an Artist. I realised my passion, my purpose."

The way I grew up had a big impact on my way of working, and has led me to focus on the body, as expression. Most of my work consists of experimenting with themes of connectivity and intimacy, responding to the female form. I see my subjects as extensions of my own self. They are familiar to me. But its more of a manipulation of emotions rather than a manipulation of the body or behaviour."

After all the repetition, the process, all the work – when the thing is successful, when harmony has been accomplished, when I, as the Artist have achieved something that seduces, that is convincing – for me that is real fulfilment. Finding an order out of chaos."

I want to tell you one of the main elements of S|IREN. The sculpture and the model make up the two elements and they stick together – they function in terms of being together. This sculpture is called ‘Siren’s Fool’. The form is based in a very abstract and simplified way on the female form – two legs and the torso. It has a steel ameteur, and then is built up with plaster, and finally it has a latex skin on the surface. The steel and the latex are direct references to the body – the skeleton and the skin."

Growing up I had dance training in ballet and contemporary. This is something that has stuck in my mind. The way dancers speak through their bodies movements, actions and behaivors. The pure beauty of the human form and all it is capable of. Dancing with a partner is completely different to dancing alone. You have to have a connection with your partner, you have to know them. Being an Artist and working with materials is exactly the same kind of relationship."

Plaster, for example is a substance that ‘gives’ a lot to the doer. If you pour plaster, the plaster is going to work, It is going to set from a liquid to a solid. There are states in-between and you have to catch it at the right moment. There’s times when it can be moved and times when it cannot, like knowing the limits of your partners body, the plaster has a life of its own, independent of the sculptor…it moves and presents you, not with a resistance but with a ind of dialogue. You have to know its characteristics and to connect. In order to have success the relationship has to be there."

“All of these thoughts are going through my head, and I started to think – what if I could create some kind of dialogue or situation involving this sculptural form and a human form. The fully breathed with the never before breathed. So I brought in a dancer and just started to experiment with communication and flow through movement, actions and behaivors – the body as expression.”

Holly Vaughan


  • Date 2016

  • Type Film Still

Up Next:

Flight & Falling