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In her Truro studio, she works surrounded by sculptures in various stages of completion, and shelves overfilled with objects collected over decades. Her pieces — a purse made of dehydrated bees wrapped in linen; an oar riddled with carefully drilled holes — beckon the viewer with an intensity that is startling, complex, and inescapable.
In addition to a reception on Saturday, Aug. Bradfield and Redman have been meeting regularly to create — side by side, in the same space — for over a decade. I find my way into the work emotionally by taking in what is around me until I discover an interconnectedness between the objects. They speak to one another, and I meet that conversation with wonder. Redman practices patience and observation over time — sometimes our deepest-felt memories take years to resurface.
She allows the objects she has brought home, often from flea markets, as long as it takes to speak to her. Those are the moments I hold onto in my body. When I do my work, I feel connected to these memories in a way that feels organic and helps me process them. So, both my parents used their hands in very practical ways. Though her brother was labeled the talented one, Redman surprised her parents by going to art school.
She earned an M. They married and settled in an old Cape Cod house in Truro, where Redman lives and works surrounded by rambling vegetable and flower gardens, bees, and chickens. When I was drilling holes in the plaster, I was reminded of sucking on a sugar lump as a child and the sensation of it dissolving on my tongue. A strange, visceral sensation. I am not wanting to hide what is inside but look at it and allow it to have a voice. The time: Thursday, Aug. The show is part of the SALLY Project — an interdisciplinary, community-based art initiative focused on the memory of notable women.