The spiders have been my most successful subject. They are also one of Louise Bourgeois'most important images. Maman's long, tubular legs are her most striking feature. Made from steel plates welded together, they balance on tiny points bolted into the stone plaza. Their shape echoes the gothic roof of the Parliamentary Library behind her and the glass pinnacle of the Great Hall of the National Gallery of Canada.
A web-like sack dangles from her body, sheltering 20 eggs carved of marble. Because marble is very porous and absorbs water, the eggs are replaced by painted polystyrene ones when it starts getting cold, to avoid damage caused by ice. The brown patina on the surface of the sculpture is not only a reminder of the oil which covers the body of a spider and keeps it from sticking to its own web, but also protects it from the weather. For Louise Bourgeois, spiders were not creatures to be feared or avoided. Instead, they evoked memories from her childhood in France, especially memories of her mother.
The spider is my mother, believe it or not. That is to say the person is totally reliable, totally intellectual, totally logical, with no burst of passion. I really don't appreciate the passion. Louise Bourgeois'mother was not only her best friend, but also a skilled artisan.
The family business in France was restoring antique tapestries, and Bourgeois'mother ran the workshop. She was the one who encouraged her daughter's interest in art. Maman is an ode to Louise Bourgeois'mother, and a deeply felt tribute to the strength and love of all mothers, human or otherwise.