Cybele Cox’s practise explores ancient feminine symbols and occult mysticism, which is part of a larger enquiry into representations of women in the western art canon. Using hand-built ceramic totems and figures, painting, drawing and more recently costume, Cybele seeks to re-invoke occult practices of an imagined ancestral lineage. She makes the proposition that magic and ritual have been dismissed by the secular nature of Western society, which overlooks the importance of the spiritual realm and altered mental states. Making figurative sculpture is a means of entry into a mystical realm, which embodies hybridity of human-body-animal, fusing symbols from the mythic world with fantasies for a new feminist order. Her work proposes a return to occult knowledge, as a re-flowering of the spiritual.
In 2015 Cox was curated into a Melbourne show, Romance Died Romantically and featured in a full review in the The Age and The Sydney Morning Herald. She undertook last year an exchange at The Vienna Academy of Fine Arts and exhibited in Rundgang and Aa Collections in Vienna. Cybele was the winner of The Stonevilla Wearable Arts 2017, and recently previewed for her 2017 exhibition at First Draft in Museum Magazine. Recent solo exhibitions include Ornamental Hallucination at First Draft 2017 and the Graduation exhibition at Sydney College of the Arts Galleries 2018. Earlier in 2018 the third incarnation of The Golden Flowerpot with collaborator Ali Noble, entitled Arcane Folly, was shown in Lismore Regional Gallery, followed by Hel’s Gate in The Bearded Tit window, in collaboration with Eduardo Wolfe-Alegria. It holds a portal into the realm of the Dead, with a helmet talisman, altarpiece and grotesque. Cybele also worked on a performance of The Baubo for the Stonevilla Wearable Arts Prize on 20 October 2018.
Location: Sydney NSW