The mythical world of Sophie Ryder

Sophie Ryder's mythical sculptures belong to a world that is all their own. Whether dancing in bronze or embracing in her signature steel wire mesh, her enduring characters bear a sense of familiarity and history that is ultimately rooted in her artistic practice. Her work does echo art's history. The Minotaur, for instance, originates in the myths of Minoa, and Ryder's more tender, loving figure is indebted to Picasso's interpretation. Meanwhile Ryder's highly personal counterpoint to the Minotaur, the Lady-Hare, might be seen to draw on a very different strand of mythology, English rural mysticism, harnessing the nocturnal animal's association with the cycles of the moon, fertility and feminine sexuality. Yet any symbolism in her work is largely subliminal and the logic at each character's core is intuitive, a reflection of Ryder's deep love of nature and incisive understanding of the human condition.

Wild and organic, the seeds of Ryder's distinctive sculptures are immediately discernible in her personal world. The child of a French mother and English father, she enjoyed a rather Bohemian upbringing, spending long summers on her mother's farm and vineyard in the south of France, largely without the constraint of any clothing. Her remarkable home in the Cotswolds, Lampits Farm, is wilfully rustic. Both her home and a showcase for her monumental and small-scale sculptures, the space was lovingly crafted by Ryder and her former husband. They heaved stone from the land by hand to make bricks, bought 10 Cotswold roof tiles and made moulds to cast their own, made all doors and windows on site, and Ryder forged all of the metalwork herself. They even planted 4,000 trees to create the woodland that Ryder now runs around daily, accompanied by her beloved lurcher dogs.

Yet Ryder's sculptures do not simply reflect nature. Like the most enduring myths, their wild forms embody human feelings and relationships. This is perhaps most palpable in the Lady-Hare, whose female body is based on Ryder's own. A deeply personal character for the artist, she allows her anonymity and complete openness in her incisive explorations of emotion, love and sexuality. This autobiographical dimension is more explicit in Ryder's recent work, where the hare's head is delineated as a mask. Like all masks it imparts a degree of anonymity, and with it a freedom of expression. In 1994 her sculpture of five Minotaurs was banned from exhibition in Winchester Cathedral because of the prominence of their genitalia, and she continues to combine in her work an ethereal sense of mysticism with a very direct modelling of the figures. Ryder is fiercely intelligent - after being expelled she completed both O Levels and A Levels in a single year to get into art school – but works in a largely intuitive manner. Distilling feelings and relationships into wild, magical forms, her sculptures show us our own inner states with newfound clarity and joy.

Sophie Ryder's solo show is on view at our New York gallery until 28th January. View the exhibition here.

An exhibition of 16 sculptures by Sophie Ryder, including large and monumental sculptures up to 19 feet high, will be at the Ann Norton Sculpture Gardens in West Palm Beach from 12th January to 30th April.

A selection of smaller works will be on our booth at the Palm Beach Modern + Contemporary (12th-15th January) and Art Wynwood (16th-20th February) fairs.

For more information or to discuss commissions, please contact Allison Raddock (+1 917 821 0040).

Top right: Sophie Ryder with Dancing Ladies, which sold at Art Miami earlier this month. 7 editions of this work are still available, as is the maquette version.

Bottom left: Hugging, Maquette, 2008, bronze, edition of 9 (+2AC), 31 x 13 x 9 in

Bottom right: Rising, 2013, galvanized wire, 157 x 215 x 126 in