Camden Art Centre in London recently launched an intriguing exhibition titled “I Am the Last Woman Object,” which artfully connects pop culture with avant-garde themes. In discussing the exhibit, Hettie Judah describes it as a whimsical collection featuring oversized body parts, wearable furniture, and a light-hearted exploration of gender.
The exhibition prominently features the wearable art of French artist Nicola L., formerly known as Nicola Leuthe. Emphasizing contemporary comfort, she offers her take on what might be seen as the precursor to the now-familiar slanket, showcasing items like the cozy “Grey Rug for Five People” from 1975—an inclusive, family-sized version of the classic wearable blanket.
Judah highlights the charm in Nicola L.’s works that blur the lines between art and design. For example, her quirky functional pieces take inspiration from human anatomy, including bookshelves shaped like heads and lamps designed to resemble cartoon eyes. One standout item is the “Woman Ironing Table #1” from 2005, which humorously features an iron shaped like a penis.
A subtly feminist perspective permeates the artwork. The chest of drawers titled “La Femme Commode” cleverly plays with dual meanings—serving as a piece of furniture while also addressing the accommodating roles often culturally assigned to women. Another notable piece, “The Little TV Woman” from 1969, depicts a lifelike soft figure with a screen in her belly, conveying a poignant message about womanhood and objectification.
Nicola L’s playful spirit shines throughout the exhibition. In her early career, she embraced a light-hearted viewpoint on gender dynamics, as evidenced by a photograph of her posing nude alongside one of her foot-shaped chairs covered in vinyl. Film footage from the late 1960s showcases men joyfully interacting with her “pénétrables” on a beach, highlighting a communal atmosphere filled with joy and humor.
The term “pénétrable” cleverly suggests both physical interaction and deeper understanding. During the late 1960s and into the following decades, Nicola L was actively involved in the counterculture movement, drawing inspiration from her experiences in Ibiza and at New York’s Chelsea Hotel. Many of her “pénétrables” contain empowering slogans that advocate for equality and environmental awareness.
One captivating installation, the “Fur Room,” invites visitors to engage with a soft, plush environment. This playful space encourages interaction; during a recent visit, children joyfully zipped themselves into cozy compartments, while some Gen Z attendees appeared genuinely surprised by the exhibit.
Notably, Nicola L’s work resonates with themes found in the art of Yoko Ono, combining optimism with messages that transcend traditional artistic boundaries. Judah points to a historic performance at the 1970 Isle of Wight festival, where Nicola L unveiled her vibrant, large-scale projects aimed at fostering unity and joy among participants.
This exhibition arrives at a significant moment, coinciding with a showcase of Brazilian artist Lygia Clark at Whitechapel. Despite both artists emerging during a transformative period, their approaches differ markedly; Clark focused on relational art centered around healing, while Nicola L’s free-spirited creations invite both whimsy and sociopolitical engagement.
“I Am the Last Woman Object” will be open at Camden Art Centre until October 29, inviting visitors to explore the playful intersections of art, comfort, and consciousness.
