Sarah Entwistle (b. 1979) transforms inherited materials into sculptural assemblages that merge the domestic, architectural, and corporeal. Drawing from the archive of her grandfather, architect Clive Entwistle, she engages a feminist materialist practice of spoliation—the adaptive re-use of fragments as acts of resistance, care, and reanimation. Her work unfolds as an intergenerational reckoning, where the affective and material traces of patriarchal history are metabolised into new relational forms. The assemblages combine industrial remnants, woven tapestries, ceramics, and light fittings in compositions that evoke the intimacy of interior life. Threads and knots recur as abstract motifs in reference to labour and inter-connection—figuring the entanglement of bodies, objects, and memories. The home she shares with her children functions as both intimate domestic space and workshop, embodying what Lucy Lippard described as “positive fragmentation”: a feminist strategy where domesticity and artistic practice coalesce into a generative whole. Entwistle reconfigures the archive as a living, sentient ecology— By working through remnants and remainders her works resist the logic of function and authorship, instead proposing a posthuman architecture of relation and renewal—where making becomes a form of care, and inheritance a space for transformation.
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