“The Spider is an ode to my mother. She was my best friend. Like a spider, my mother was a weaver. My family was in the business of tapestry restoration, and my mother was in charge of the workshop. Like spiders, my mother was very clever. Spiders are friendly presences that eat mosquitoes. We know that mosquitoes spread diseases and are therefore unwanted. So, spiders are helpful and protective, just like my mother.”
— Louise Bourgeois (1911 – 2010)
Bourgeois was a French-American artist proficient in an incredible number of artistic disciplines, but perhaps best known for her large-scale sculptures and installations. Her artwork was often autobiographical, referencing childhood memories—particularly those of her beloved mother and unfaithful father.
Among her most recognizable works is Maman, a massive 30-foot sculpture of a steel spider. The towering structure, whose title translates as mom or mommy in French, pays homage to Bourgeois’ mother Josephine, who passed away when Louise was 21 years old. “I came from a family of repairers,” Louise said. “The spider is a repairer. If you bash into the web of a spider, she doesn’t get mad. She weaves and repairs it.”
The creature is supported on eight slender legs and has a sac containing 10 marble eggs on its underbelly. It is the largest in a series of spider-themed pieces that became central to Bourgeois’ work in the 1990s. It has been said that her spiders are contradictory representations of motherhood—representing both predator and protector; the silk builds elaborate webs and cocoons, but also binds the spider’s prey. Maman, massive in size, but balanced on thin, spindly legs, is both strength and fragility in one.
Thanks to Milton Sandy for sending along the link and quote.
Photo courtesy of Peter Bellamy