Ornamental Carpets Release Wild Animals In Debbie Lawson’s Provocative Sculptures

Debbie Lawson’s sculptural interplay between carpets and wildlife

Debbie Lawson is acclaimed for her striking sculptures that depict life-size animals wrapped in ornamental carpets. These pieces often begin with a frame composed of wire mesh, masking tape, and Jesmonite resin. The artist then carefully cuts and layers Persian carpet to create a seamless surface, evoking the sensation that the animals are emerging from the textiles in a transformation that captures them just before movement.

Exhibition exploration and thematic elements

The solo exhibition “In a Cowslip’s Bell I Lie” at Sargent’s Daughters gallery invites viewers to explore the intricate relationship between decoration and nature, an interaction further described by the gallery. The exhibition title borrows from Shakespeare’s “The Tempest,” highlighting themes of freedom and the exploration of nature, paralleled in Lawson’s works like “Wild Dog Sundown,” “Red Eagle,” and “Black Cougar.”

A journey through art history

Lawson‘s work is inspired by a long artistic tradition of nature motifs, especially within the context of wildlife art. Her art draws parallels with historic and decorative designs—from Pompeii frescoes to William Morris textiles. These sculptures reflect a dialogue between domestic interiors and the expansive wilderness, touching on the tension between the refined and the organic. In a similar vein, Kathrin Marchenko’s textile works explore artistic traditions and natural motifs.

The personal and historical narrative

Drawing from a deep personal history with textiles, Lawson reflects on the gendered history of craft, traditionally seen as “women’s work.” This resonates deeply with her family background in art-making in Dundee, Scotland. Lawson acknowledges the historical constraints faced by women who were often restricted by patriarchal norms, hindering their creative pursuits. Her work seeks to honor their talents and challenges traditional notions of art. This blend of personal and historical narrative echoes the themes explored in KAWS’ “FAMILY” at SFMOMA, which also plays with historical context and modern art sensibility.

Integration and individuality in sculptural form

Lawson’s camouflaged animals emerge from the backgrounds of carpets, bridging craft and high art. These creatures, such as leopards and elephants, retain their unique identities, shaped by the textiles from which they arise. This perspective highlights how craft has challenged the art canon over recent years, elevating its status and redefining cultural significance.

“In a Cowslip’s Bell I Lie” runs until May 30 in New York. More of Lawson’s work can be seen on her Instagram.