About Sophie Ryder
Sophie Ryder's association with YSP began in 1986 during her residency, immediately after graduating from the RA Schools. Her work is an exploration of the female psyche and sexuality and frequently references the artist's own body as it morphs with the powerful energy and form of the hare.
Ryder’s work includes human, animal and mythological figures, frequently melding forms to combine the attitudes and instincts of each. Anthropomorphic characters are used both to explore the human condition and as a metaphor for Ryder’s own feelings. Over several years she has evolved an ongoing narrative around the female / mother figure of the Lady-Hare; a hybrid with the head of a hare, and its body modelled on Ryder’s own. The Minotaur also features strongly in the artist’s work, often interacting with Lady-Hare in a relationship which even sees them depicted as a family with a child.
Ryder is renowned for using animal imagery to explore the complexities of emotion. Through her work, she uses animals to communicate a range of feelings and experiences often seen as specific to humans, seeking to convey her conviction that emotion can be readable in all living creatures, human or animal. Conversation uses the motif of a figure on horseback, with Lady-Hare and Dog in a silent, mysterious dialogue.
Ryder’s treatment of the bronze surface is unique. At the initial plaster stage, she gouges out sections of her work and adds in elements to give texture. These range from car parts to domestic objects and plastic toys, adding to the enigmatic sense of the sculptures.
You might also likeMore
- Art Outdoors
Sophie Ryder: SittingAnimals are at the heart of Sophie Ryder’s art practice and her life. Her enduring character known as the Lady Hare combines a female body with the head of a hare, a mystical creature in folklore.
John Foster CBE
Robert Indiana for Yorkshire Sculpture Park – A Benefit Print Exhibition20 February 2024
- Art Outdoors
Henry Moore: Upright Motives No. 1 (Glenkiln Cross): No 2; No 7Moore created twelve Upright Motives in the mid 1950s. In their powerful symbolism these pieces owe much to the tall, upright stones, known as menhirs, from prehistoric times. Moore brought all these influences together to create forms which are unmistakably his own.