Art historian Brigid Peppin talks about her relative, the female Vorticist Helen Saunders as well as her little-known colleagues Jessica Dismorr and Dorothy Shakespear. Chris Stephens is co-curator of The Vorticists: Manifesto for a Modern World and Curator (Modern British Art) and Head of Displays at Tate Britain. The exhibition runs until 4 September 2011. Tags:Exhibition programmeHistory of artLooking at artMaterials and processesPaintingSculptureTate BritainVorticism Comments Show oldest comments first of course a non hierarchical architectonic makes no sense to us because......we have our needs. But to suppose it may be useful in some way. as Olivia Newton-John (yes I know) said "Let's Get Physical"... 'lemme hear your body talk'.... (no I don't know what it 'means', it's just a thought) Go girl ! or rather girls .Mad ones ? hmmn like the hysterics Freud found to be prisoners of an unnecessary oppression .Quiet ones? (we have the others) Those who can't fight (in such a competitive arena) (and maybe that is why black kids can't fight either - unless they are wearing their super hero costume) There is more to sensitivity than victimhood. Opening channels to original expression requires the strength to be highly vulnerable (why so many male artists avoid conventional relationships and or drink/do drugs. A generation has just sought to protect itself with money,what next ? because? well because now we deal in the architectonic rather than the transcendental (I think that's right ?) because, erm , there's nowhere to go , we change it here. Most sane people are pretty much the same on the inside,there are attitudes and cultural differences of course but we all see the blue sky that isn't there "really" blah blah .On the outside there is society, others ; where is the individual who in some way does not feel part of them is beating that outside part off with a big stick most of the time ? A rare individual,one who lives OUT THERE mostly probably. Your Vorticists seem to me to be dealing with 'inner / outer' ? I see a similarity in that to the sculpture of say Caro,(and jazz of course) That relationship between the outer edges and the center again,the 'opening up of the closed form' but where there is a non hierarchical architectonic,if you like. sorry "opening up of the closed world"(Kahnweiler) which may or may not be the same thing.