The Weight of Words – The intersection of poetry and art at the Henry Moore Institute
Written by Erin Clark / Edited by Mia Stapleton
When considering galleries in Leeds and the surrounding areas, The Henry Moore Institute
stands out as one of the most dynamic, accessible, and relevant spaces for contemporary
artwork. Named after legendary sculptor Henry Moore, the arts space aims to promote and
uphold the appreciation of the visual arts – specifically sculpture, as the chosen medium of
its esteemed namesake.
Current exhibition The Weight of Words explores the intersection between the tangible art
installation, and the ineffable power of poetry. An amalgamation of globally dispersed artists
convene in this temporary exhibition to detail the ways in which both the physical act of
human speech and the meaning of its content can inspire, as well as be utilised within
artwork in differing cultural contexts. Taking place in the Main Galleries, The Weight of
Words transforms the space into one that mimics a constant flow of thoughts – the
installations actively using the space in order to invite the visitor to partake in an immersive
experience which considers the limits of language and artwork.
Shilpa Gupta’s Words Come From Ears was a complete stand-out for me. As one of the only
audible installations in the otherwise hushed ambience, Words Come From Ears commands
visitor’s attention. Using a hanging motion flap-board – commonly seen in stations and ports
Gupta seemingly randomly programs 64 characters which consistently break in line,
meaning and form to display a fragmented ballad, line by disjointed line. The chaos of
enjambment is palpable from the seating platform directly across from the installation, so much so that I found myself sat for ten minutes hanging on each word that appeared, eager
to see the next line. With the audible flap of the individual boards acting as the cadence of
the ‘poet’s’ voice, Gupta achieves something that is more than an art piece to be perceived.
Another standout was Issam Kourbaj’s Dark Water, Burning World 150 moons and
counting… which is equal parts harrowing and inventive. Showcasing across a taped off
section of the institute’s floorspace, this installation is comprised of small boats made of
recycled bicycle mudguards, housing groups of upright burnt matches set in clear resin. The
piece details the Syrian uprisings, which began in 2011 and were a catalyst in the refugee
crisis – with the total number of boats directly corresponding to the total number of months
that have passed since the beginning of the crisis. Mirroring the ongoing solemnity of the
refugee crisis, one boat will be added for each month that passes during the exhibition’s run
and the installation’s title will be changed accordingly. This installation is another that
commands the visitor’s attention, actively forcing the audience to divert their natural path
through the institute as it juts out across the space, in a way that mirrors the natural flow of a
body of water.
While the two individual installations above are personal favourites of my own, this is not to
take away from the poignancy of the other installations in the exhibition – the whole cohort of
artist’s involved are incredible in their own rights, and each artwork works as incredibly well
individually as it does in contributing to the cohesive exhibitionary experience. The whole
exhibition manages to feel overwhelmingly personal, while also feeling universal in appealing
to the uniting power of language. It really is a triumph, and one of my personal favourites to
be shown at the Henry Moore Institute in recent memory. If you can, I urge you to see this
exhibition.
The Weight of Words is displaying at The Henry Moore Institute until 26 November 2023. Sculpture and Poetry: a celebration of new publications takes place in the Sculpture Research Library on 30th September.
