Introduction
Simone Leigh’s monumental sculptural installation at PAMM, Trophallaxis, takes its name from zoology, or the study of animals. The word itself comes from two Greek words, like many other scientific terms. Trophé means ‘nourishment,’ and allaxis means ‘exchange.’ The word describes a type of feeding behavior seen in the animal kingdom, where food is partially digested by an adult and regurgitated into the mouth of its offspring, or another member of its species.
Like many of Leigh’s large sculptural pieces, Trophallaxis centers Black women in her work. This cluster of black ceramic breasts hangs like a chandelier in PAMM’s unique double-height gallery. These physical reminders of biologically female anatomy are also reminders of many cultural associations and assumptions about femininity and identity. Moreover, this artwork sheds light on the overlooked and underappreciated community, fertility, and labor of specifically Black women in the United States.
Starting in late April 2022, Simone Leigh will represent the United States at the fifty-ninth annual International Art Exhibition as part of the Venice Biennale. This global contemporary art exhibition is held every two years in Venice, Italy. Artworks by artists representing different countries are displayed in galleries and national pavilions in and around the historic city. Simone Leigh is the first Black woman to represent the United States at the Venice Biennale since the USA began participating in this international art exhibition over ninety years ago.
The image below is of the American pavilion, built in 1930. It is located in the Giardiani della Biennale, a park in Venice, Italy dedicated to showcasing the biennial international art exhibition.
Visual Description Trophallaxis
Trophallaxis by American artist Simone Leigh, is a large mixed media installation suspended from the ceiling, on display in PAMM’s double height gallery. It is made of terracotta, porcelain, epoxy, graphite, and antennas. The dimensions vary, but it hangs over fifteen feet downward from the ceiling, from a central anchor point. From this one hook extending down from PAMM’s concrete skeleton, over three dozen metal wires hang down in a conical shape. They support a cluster of several dozen black ceramic breast-like forms. They all feature a large golden or polished silver areola and pointed nipple, angled downward. Overall, the artwork looks like a large chandelier, hanging above the heads of museum-goers. The breasts are arranged in five tiers, or levels, like a large funnel, or an upside-down wedding cake. The top, or rim of the funnel, is made up of around twenty large black ceramic breasts arranged in a ring. Moving down from the top of the chandelier, each level is smaller in diameter than the one above it, ending at the lowest tier of the chandelier with one single ceramic breast, pointing straight down toward the gallery floor. The massive chandelier is covered in several dozen car antennas, sticking straight out of the concentric and telescoping ringed tiers that make up the chandelier. They are attached haphazardly to the ceramic forms, at a variety of different angles, lending the entire artwork the look of a large pin-cushion or of a massive metallic and ceramic porcupine, suspended in the air.
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