Artist Clémence Hémard-Hermitant speaks to curator Theresa Kneppers about her work with the Borough Road online collection and archive.
What was your process for exploring and engaging with the archive during your residency?
This time, the process has been quite different for me. My usual practice involves working with oil pastels, chalk, crayons, and ink, but having recently become a mother for the second time, I’ve found my time extremely limited. During this residency, I’ve explored digital tools to see how far I could push technology to recreate the sense of medium and texture that is so important in my work.
Were there any unexpected discoveries in the archive that influenced the direction of your project?
I’ve been particularly inspired by how Dorothy Mead often suggested figures in her paintings. Drawing parallels with my own life, I’ve been reflecting on the journey of the female body through motherhood: from being a lone figure, to carrying life, giving birth, and eventually returning to oneself. This exploration has led me to think deeply about the concept of caregiving—both for the young and the elderly—and how the body serves as a vehicle for this care.
What was it about Dorothy Mead’s work or biography that stood out to you in the context of the archive?
I was immediately drawn to Mead’s distinctive palette, and I resonate with her use of movement, strokes, and texture. Her stance and strength in the male-dominated art world of her time have also been deeply inspiring. I admire her unwavering character in the face of gender-based challenges, such as her refusal to take a course at the Slade, which prevented her from graduating but demonstrated her commitment to her beliefs. I also found the Polygamous Polonius film fascinating; I see it as a testament to the artistic power of embracing different mediums to express an idea.
How did your understanding of Mead evolve as you researched her? Did any particular works or themes resonate with you?
Works that inspired me during this residency:
Transvestite
Standing Female Figure (1962)
Standing Figure (1959)
Reclining Nude
Meeting (1964)
Self Portraint (1963)
Did you feel a personal or artistic affinity with Mead? If so, in what ways?
I resonated with the vibrancy of Mead’s paintings and her way of depicting the figure.
How did Dorothy Mead’s approach to painting—especially her commitment to structure and form—inform your own creative process?
Mead often challenged traditional roles as a female artist and as a founding member of the Borough Group. How did that aspect of her legacy influence your interpretation or response?
Mead’s work challenged traditional roles, and as both an artist and a mother, I find that challenge still very real and relevant today. Much of my own work comes from a feminist perspective, addressing elements of the patriarchy that I believe must continue to be questioned, confronted and dismantled.
Did you draw from any specific visual or material elements in Mead’s work—such as her palette, gestures, or subject matter—in your own work during the residency?
Yes, I primarily focused on using a similar palette and the figure of motherhood, or carer, repeating a double figure in most of these digital drawings. Inspired by her self portraits, I have been exploring this side of my practise as it’s not something I have worked on previously.
Could you talk about the mediums or methods you used in your residency project, and how they relate to Mead’s work or the broader themes of the archive?
I’ve touched on this in some of my previous answers but this was a new discovery for me, using the ipad as a medium to recreate texture, strokes and movement.
I found it unsettling as it replicates the medium well but also frustrating as you don’t quite get the same energy release as you would with paper.
What did this residency teach you about your own practice?
In this residency, I explored whether digital art can capture the essence of traditional mark-making, evoking the texture, movement, and emotional resonance of physical media. By focusing on recreating the feeling of materials like pastel or ink, I aimed to bridge the tactile qualities of handmade art with the possibilities of digital expression. I’ve found it interesting to explore the qualities it can bring to the image, if not a little scary to see how easily mimicable the physical medium can be, however, it is good to see it is not entirely replaceable.
You can see the full series of Clémence Hémard-Hermitant here.
Standard Figure Awaiting