SITE Santa Fe,
by incorporating reflective surfaces within a mazelike structure. “They’re these incredibly seductive surfaces that appear to offer you everything,” Claxton said. “I like that idea that you become a part of it. You might not see yourself, but someone else can see you in it. If you think about the internet, you’re in these different places all at the same time, and they’re these slightly different versions of the world, but none of it’s real. So, that’s what a reflective surface gives you. It seems to offer you this other space, this new space. The mirrors expand it in ways that go beyond your initial impressions.”
The elements that attract Claxton to the figurines she incorporates in her sculptures have an aesthetic quality. “They’re actually quite beautiful objects,” she said. “The glazes on them are quite amazing, and the modeling is quite amazing. They’re like figurative sculpture but for the domestic environment. They are your kind of Roman sculpture reduced down to what will fit on your mantelpiece, and you can make your worlds with them.” Claxton’s figurines hark back to a time when the home was a nexus for social interaction. “They used to be talking pieces, originally, for tables,” she said. “You would have your really posh meal, and you’d have your nice talking piece that was the focus for conversation.”
When approaching Claxton’s sculptures, the viewer experiences the formal impact of the long view, first, before becoming entangled in the world of illusions created by the angled mirrored rings. But, then, it is the altered figures, caught up in their own little worlds — worlds which may be beautiful — in which we see ourselves reflected.