Write a critical review of an exhibition you've seen.

Nicole Farhi’s contemporary artistic expression exerts itself through the form of sculpture, completely differing from her prior career within the fashion industry. Having worked within the field for around forty years, one can be both amazed and fascinated by her sculptural pieces in her recent exhibition: Folds. The series aims to explore the ‘beauty of the human figure,’ in a fragmental fashion, bearing no shame in highlighting the typically classified imperfections of larger bodies. Female figures reveal their curvaceous edges and dented areas as a symbol of proud sexuality. The pieces are strikingly communicative whilst also creating an instantaneous feel of intimacy. Most enticing is how the sculptures are portrayed as individually worthy, each deserved of their own sense of esteem; yet collectively come together creating an army of body positivity. 
The commerciality of the exhibition space proves troubling at times to the works displayed. The two floors inconveniently break up the fluidity of the exhibition; leaving the sculptures on the lower ground floor working hard to recreate the quietly tender environment. Although, one can develop a close connection to the works within the white cube setting, with the low ceilings and white walls producing a cosy yet clear atmosphere. The wall colour against the black bronze and white Jesmonite supplies a monochromatic effect, nudging viewers to focus on the sculptural forms. Works are presented either on white shelves, plinths or clear tables, adding to this sleek display. 
Hebe (figure one) is on the underground floor below a small window, demonstrative of the inconsistency within the lighting. The natural light from above highlights the sculpture unequally, causing difficulty in seeing its full features – unlike other works lit well by fluorescent spotlights. Hebe’sgorgeously shimmering bronze surface is thus not presented to its fullest capacity, lacking accentuation from the light provided. Furthermore, it sits on a low table forcing visitors to awkwardly gaze from an angle or bend down to gain a full view. Farhi translates the discomfort that larger women may feel when naked with a quality of composure and sleek agility. However, despite being a marvellous piece, the poor curation swiftly pulls down its accessibility. A few sculptures were not displayed to their full potential which dramatically impacted the interaction between the audience and the works, but also meant that the environment was given the power to subsume the art. Showing Farhi’s work alongside already reputable artists, such as Henry Moore, seemed to drag attention slightly away from her sculptures in part too.
What must be noted is Farhi’s ability to explore the beauty in larger female bodies, directing audiences to trace the sculpture’s surface and intimately connect with various textures. Her effortless push to create an appreciation towards curves, dimples, and other aspects of women’s bodies, typically regarded as imperfections, is successfully translated through her medium. The white Jesmonite and matt black graphite treated bronze pick up intricate details – eyes are led on a journey of admiration over the surface of the body. One of the first sculptures one encounters is Opis(figure two), which instantly sets the tone for the exhibition. Sitting under direct fluorescent lighting, it picks up pockets of shadows - while dimples, wrinkles and stretch marks remain visible to audiences. Opisrests on the top of a white block, mounted against a dark grey metal stand; together, pushing greater focus toward the work itself. Captivating, however, is how Farhi has created a work which does not overtly resemble a specific body area – only after engagement with the object can one begin identification. This therefore guides audiences into encountering the pieces as artworks first and then directing that admiration towards the type of bodies being presented.
The ultimate irony lies in her fashionista past: her previous career celebrating the outer decoration of a small body as opposed to her current appraisal being handed to greater-sized bodies with displayed imperfections. Farhi’s shift from fashion can therefore be said to attach another meaning to the exhibition – the questioning of beauty standards. The fragmentary nature, with the Greek and Roman goddess titles, instils a link to classical sculpture. This reference allows a further attachment of ideas around canonical bodies and what is said to be ‘ideal’ within society. Farhi’s exhibition, with association to the fashion industry and classical sculptures, comments on what is expected of women; what is deemed as beautiful; and a complete remoulding of all of those set standards.