Important Art by Emmy Bridgwater
In this quick and automatic pen and ink drawing, Bridgwater includes one of her most typical motifs, the hybrid bird-woman. As in similar works, Stark Encounter shows figures in a state of metamorphosis against an empty backdrop. Robert Melville described Bridgwater's works as depicting "the saddening, half-seen 'presences' encountered by the artist on her journey through the labyrinths of good and evil [...] although they are dreamlike in their ambiguity they are realistic documents from a region of phantasmal hopes and murky desires where few stay to observe and fewer still remain clear-sighted." Furthermore, Jeremy Jenkinson says of her work "Her paintings, drawings and poems are places of organic fusion and painful gestation. No concession whatever is made to 'artistic good taste', whether classical or not. There is only instinct, and a primitive feeling for the metamorphoses at the origin of life; strange sequences of birds, eggs, eyes, little girls, open tombs, larvae and lianas in nondescript landscapes."
The bird motif is also extensively investigated by Remedios Varo, Leonora Carrington, and Edith Rimmington. Furthermore, even outside the powerful women's circle within this movement, Max Ernst was famous for depicting himself with birdlike features and for revealing his alter ego, Loplop, to be half man, and half bird. Indeed, the bird, throughout the Surrealist movement, signifies a desire for flight and freedom, but at the same time confirms (with a regretful tinge of melancholy) that humans are earth bound. The motif of the bird does many things; it also links the majestic heavens with daily existence, and suggests a time linkage between the ancient of days and those of now. Interestingly though, in this work by Bridgwater it appears that the female in the image is not metamorphosing voluntarily into a bird, but is instead being abducted and forced in some way to comply. Sadly, there is always a sense in the work of Bridgwater that freedom comes at a price, that she is writhing in struggle as her own transformation takes place.
In this painting, a black raven is the main character in a surreal landscape that is born of a marriage between inorganic and mechanical objects united in a large bathtub, or basin. Here a draped towel or sheet of fabric hangs over the edge upon which the bird is perched. There is the strong sense of the original Surrealist principle of creating unusual juxtapositions and uniting otherwise disparate objects in this work, much like the chance meeting of "sewing machine and an umbrella on a dissecting table" as stated in Breton's first manifesto (1924). Here we appear to have the sways and set-up of theatre meeting some sort of threatening spiked hammer. The overall message is one of looming threat combined with artifice.
The bathtub as a revealing and recurring motif in art, has been, and goes on to be repeated by other influential artists, in particular Frida Kahlo. The watery chamber is noted as a place where unconscious musing may rise to the surface, and as such the bathtub becomes a literal metaphor for human depth of emotion. As Bridgwater titles her painting, Night Work is About to Commence, it infers that the complex subconscious processes roused in the bathtub are anticipated to continue and be further enhanced during sleep. In technique and brushstroke, the work exemplifies the spontaneous, urgent, and rapidly painted quality of Bridgwater's paintings. Her rough, visible, and slightly frenzied brushstrokes reveal a searching, anxious, and seemingly agitated state of mind. The overall somber mood of the painting may indeed echo what was in fact a national state of depression brought on by the destruction and sadness associated with living in wartime Britain at the time.
In this drawing, we see Bridgwater's use of the automatist technique. There is little attempt to consciously control the movement of the hand, and the artist instead allows the subconscious to gain control. The same sense of violence, rapture, and sexuality, are all themes that Bridgwater shares with prolific French Surrealist artist André Masson. Masson's work has been described as "tortured and sensuous", and such would equally well describe this drawing by Bridgwater. Indeed, as limbs bend and elongate in this drawing, it is particularly similar to Masson's 1939 picture, The Genius of the Species.
The drawing also strongly recalls the experiments and automatic drawings of the artist/scientist couple, Grace Pailthorpe and Rueben Mednikoff. Mednikoff was a poet and a painter, and Pailthorpe, a surgeon who started to try and help female delinquents to resolve inner conflict by revealing subconscious desires through art. Pailthorpe's paintings similarly depict writhing limbs and globular breast like forms. She insisted throughout her career that attempting to make visible subconscious musings was a therapy, and ultimately, the only way to deal with past experiences as well as to move forward and better understand life.