Trace Elements | 1971
Curated by Rosalind Davis
Artists: Fabio Almeida, Hermione Allsopp, Sasha Bowles, Rosalind Davis & Justin Hibbs, Richard Perry, Lex Shute, Lisa Traxler, Andrea V Wright9-
9- 22 October 2021, 12-6pm plus events - see below.
As featured as Top Picks to see during Frieze in:
The Art Newspaper
FAD Magazine - No 1 show of the week
The Londonist
Review of The Factory by Paul Carey Kent.
Click on the articles above to read in full.
The Factory, Thameside Industrial Estate, Factory Road, London, E16 2HB.
https://www.insidethefactoryproject.com/
Rosalind Davis Curatorial Statement for Trace Elements | 1971.
Themes that bring these artists’ practices together are transformation and experience. Their works respond directly to buildings or contexts, scraping back layers of history, materiality or indeed reality, to create new or alternate spaces, objects and environments.
Trace Elements | 1971 is a title that references this incredible building’s links back to the industrial era whilst also acknowledging the cumulative impact of subsequent phases of its history.
Tate and Lyle’s factory in Silvertown was created in 1878 during the late-Victorian era. This is a period where houses were filled with the ‘lived’ history of their inhabitants. Inherited objects and furniture acknowledged and valued layered histories and the passage of time. In the 20th century as Modernism emerged, the presiding sentiment was to cast aside ornament in favour of transcendent minimal spaces; to remove and erase the past to start afresh. However, we have since moved beyond these polarities, traces of the past are resilient and perhaps we need to recognise the power of both? We now sit somewhere in-between these two positions: treasuring objects, buildings and experiences that acknowledge both past and present while simultaneously creating new memories and spaces.
On one of our site visits to The Factory, Justin was wearing a t-shirt emblazoned with a 1971 logo – his birth year – and we discussed its potential as an enigmatic title. On researching further, I realised there was much more to the year 1971 than we initially thought.
1971 marked the beginning of the digital era with the advent of the first commercially available microprocessor and the beginning of the end of the Industrial Age. As such, 1971 was the start of home computing and all that came with it: freedom of information, self-education and the huge impact on our lives of the internet age. While a lot of the works in my curated section are focused on the transformation of real-world materials and spaces, they also employ digital processes within their research and development stages – whether using photography, digital imaging software etc. For this collection of artists, the prevalence of the digital/virtual has led to a return to the physical and the haptic. They also share a sense of the industrial in the materials they use, factory components such as glass, latex, steel, di-bond, wood and concrete.
1971 was also the year that Disneyland opened. Disney created amazing visual effects through hand-drawn, frame-by-frameanimation. A half century later, animated films are created almost entirely throughdigital processes. We can all animate on our phones. This fact is magical and Disneyland was the birthplace of that magic – theatre, illusion, metamorphosis, and otherworldly experience which all play a part in the creation of these artists’ works.
An interesting aside – my grandfather and mother worked for Tate and Lyle where the Silvertown Exhibition takes place. So far as any place could contain spiritual trace elements, personal and familial, three generations of my family will now have worked in this factory, making and organising things, which is an interesting resonance / coincidence. I also created a painting of the factory some years ago, which adds to the feeling that it is pertinent to be curating at this site.
So, from 1878 to 1971 and now 2021. An intriguing set of dates – a resounding and rich collision of histories and contexts, which, through this exhibition will be activated again through our ideas, materials, and artworks. In 2021, through Thorp Stavri’s invitation, we bring this industrial building to life again as it begins another era.
Read an In-depth interview with Rosalind on FAD about her curatorial ideas behind the project here.
See more about the artists below and all the amazing events lined up below!
EVENTS:
Monday 11 October 6.30-8pm
Online. Artists and Curator in conversation with art critic, curator and artist Jillian Knipe. Free but booking required.
Thursday 14 October. 4.30-5.30pm
Onsite Talk: Curatorial Insights.How to curate and make a success of an exhibition.
Free but booking required.
Saturday 16 Oct, 15:00 - 16.30pm
Between Before and After.
Justin Hibbs & Soa J. Hwang in conversation with Rosalind Davis
A discussion with two artists whose works are informed by time and the way it impacts on the narratives in their works.
Read more here and booking required.
21 October at 3pm
The Lives of Others with Rosalind Davis and Gary Mansfield
A conversation about art and life.
Listen to the recording on the Ministry of Arts Podcast here.
A South East London gal and an East London boy talk about how they ended up being artists and their art career journeys so far, including joys, inspirations, life changing moments, relationships and a few challenges along the way…..
In this episode Gary Mansfield speaks to Rosalind Davis (@rosalindnldavis)
Rosalind Davis invited Gary Mansfield to join her in conversation, in front of an audience at Thorp Stavri’s FACTORY PROJECT (21.10.2021), a museum scale exhibition where Rosalind was a curator and Gary showed via The Skip Gallery.
As an artist the central concern of Rosalind Davis is the transformation and reconfiguration of architecture and space through multiple disciplines.
Davis works within painting and installation and has exhibited nationally and internationally in a wide range of galleries and has had a number of solo shows in London. Her work is held in a number of private collections and public collections including Soho House.
Since 2018 Davis has alongside her own practice is also working on collaborations with artist Justin Hibbs making site specific works for various galleries. Their most recent collaboration has been for ITV Creates with Jamal Sterrett.
Book here for the Curator and Artists in Conversation.
Artists: Hermione Allsopp,Fabio Almeida, Sasha Bowles, Rosalind Davis & Justin Hibbs, Richard Perry, Lex Shute, Lisa Traxler, Andrea V Wright.
Rosalind will also be onsite 12-6pm:
Thursday 14 October
Saturday 16 October
Thursday 21st October from 2-6pm
There are other events throughout by other artists in the exhibition. See more here.
https://www.insidethefactoryproject.com/events
October 22nd at 5pm
Artists Rosalind & Justin reunite with the movement artist Jamal to create a new piece of work, with music from Ben Lancaster.
In 2020/21 Rosalind Davis and Justin Hibbs had the the opportunity to work with the talented movement artist Jamal Sterrett as a commission for ITV Creates to create an ident (something you see between adverts and programmes). Jamal will rejoin Rosalind and Justin on a new collaboration at Trace Elements |1971 at the Factory, a major sculpture show in East London during Frieze week and create a new piece together as Jamal responds to a new site specifc sculptural installation.
Rosalind, Justin and Jamal’s ident for ITV Creates brought together two distinctly modern forms of Art for the very first time; Jamal’s otherworldly expression of the little-documented contemporary dance form ‘Bruk-up’ with Rosalind and Justin’s immersive sculptural Installations that confound perceptions of space.
This is a highly innovative collaboration with ground-breaking potential, pushing both artistic practices into new territories. It is a pioneering first, both in terms of a meeting between these specific art forms but also representing the premier exposure of this dance form on a mainstream cultural platform to a mass audience.
The creative collision of Contemporary Visual Art and Bruk-up Dance not only merges two complimentary artistic forms but also importantly extends the rich shared cultural heritage of British and Jamaican culture.
Read more and book your ticket here.
Thorp Stavri Press Release:
Monumental ‘festival of curation’ in Woolwich warehouse during Frieze week
A monumental ‘festival of curation’ will take place in a North Woolwich warehouse during Frieze Week, when 10 UK based curators/curatorial groups will be invited to present exhibitions of sculpture, painting, drawing, video, performance and installation from emerging and mid-career artists.
Transforming an old Tate & Lyle Factory in the Thameside Industrial Estate, The Factory Project is an independent museum-scale display, showcasing work from over 80 artists. Organisers and co-curators Eric Thorp and Nicholas Stavri (Thorp Stavri) are presenting talks, workshops and tours to engage the local community with both the art and the building’s industrial past, and hope to connect with a wider audience than just regular gallery goers.
“We want to inspire local young people by connecting them directly with artists, and to bring something interesting, enjoyable and welcoming to people living in one of London's most underfunded boroughs,” says Eric Thorp, one half of Thorp Stavri. He continues, “The Thameside Industrial Estate has a long and rich history of serving the local community: we want to put it to community use once again.”
This inclusive approach applies across the project. Each of the curatorial groups invited to exhibit have no permanent bricks and mortar space, meaning The Factory Project offers them and the artists they are working with a rare opportunity – especially in London – to exhibit on a large scale in the 67,640 sq ft warehouse and yard complex. There’s an emphasis on diversity right across the project, giving real representation of creativity in the capital.
Nicholas continues: “We want to create a platform that celebrates a diverse range of creative voices – emerging curators/artists of different ethnicities, genders and cultures – and connect them with a local audience that is more often than not, outside of the traditional gallery circuit. The health crisis and heightened awareness of inequalities in the creative industries means that now more than ever we must address societal imbalances”
The Factory Project will take place at the monumental Thameside Industrial Estate, in North Woolwich, Newham – a short walk from London’s City Airport and nestled between the Tate & Lyle’s Sugar Refinery and the Thames Barrier – on Factory Road. It is produced by Thorp Stavri and supported using public funding by the National Lottery through Arts Council England and through the continued support of Projekt and FAD Magazine.
Other participating curators are: Backhaus Projects, Delphian Gallery, Gallery No.32, Haze Projects, Jerome Ince-Mitchell, Pacheanne Anderson, Recreational Grounds, Rosalind Davis, Skip Gallery and Thorp Stavri
ADMISSION: Free / £2.00 - suggested charitable donation to raise funds for the Community Food Enterprise (CFE).
Community Food Enterprise (CFE): is an award-winning social enterprise food business and a registered charity that is rooted in East London. Founded in 2002, their aim is to alleviate food poverty as well as develop a viable and sustainable food business that provides training, capacity building, and employment opportunities for residents of East London.
About the Artists
Combining references from the realms of architecture, design and art history, Fabio Almeida creates large scale abstract collages using hand painted papers, varnish, Letraset and markers. His playful compositions functioning as fractured landscapes or structures whereupon events and narratives may develop. A sense of nostalgia permeates through Fabio’s work - his colour palette, shapes and materials alluding to a bygone era of modern optimism but tinted with the gritty realities of present day living. Through surface manipulation, Fabio embeds the work with remnants of possible previous lives, past and present jostling in the materiality of the surface. his work is laced with a layer of realism and current preoccupations of present day, especially those related to life in large urban areas. It is in the tension between the pleasing aesthetics of the compositions and the physicality of the layered surfaces that Almeida's paintings come to life.
Fabio Almeida was born in Porto Alegre, Brazil in 1968 and settled in the UK in the early 1990’s where he studied painting at the City Lit Institute and Communication Art & Design at the Royal College of Arts in London. Almeida has participated in a number of group exhibitions including most recently: Trans_Formations II at Laurent Delaye Gallery in Ramsgate, Phoenix at Galerie Rompone in Cologne, Land of Sol in Limousine, France (all 2021), Re-Assemble at Collyer Bristow Gallery (May 2019), States of Disruption at M.I.R Space (July 2019), Unfolding at Amp gallery (Dec 2019), Kite Circus in Sheffield (March 2020). His work is found in a number of private collections in the UK, Europe and the USA.
Instagram: fab_alm_art
Hermione Allsopp makes sculptural work by collecting objects and furniture and re-creating them into new forms or compositions. These items, which have been discarded in charity shops, become her materials. Not inert ones, but ones that carry collective memories and meanings. As sculpture, they begin to exist as something else, raising questions over value of rejected objects, the materiality of memory related to the home and the junk economy. The work also relates to wider topics such as consumerism, psychological and physical interiors and exteriors the body and issues around the human condition. Process and making are central to her practice. As such the work is also a continuous investigation into the structures of things and their different material properties and contexts.
Biography: Hermione Allsopp is an Artist that primarily works in sculpture and installation. She lives and works in East Sussex. She graduated from MA Fine Art at UCA Canterbury in 2012. Recent exhibitions include solo shows: Organic Matters, residency presentation at Casa Da Memoria, Guimaraes, Portugal, as part of CONTEXTILE 2018 and MagiC Carpets EU project, which she is exhibiting for the Magic Landed exhibition at Kaunas Biennial 2021-22. (2017) Gross Domestic Product at Unit One Gallery, London. Highly Sprung, 21 Guildhall St, Folkstone Triennial Fringe.
Recent group exhibitions include: the soft and elastic bone, VSOP Projects, Greenport, New York, USA 2021, In Quest for Beauty-Assemblage in the Ahmenson Collection, curated by John Silvis,Ahmanson Gallery, California, USA. Reassemble, Collier Bristow Gallery, London 2019, The Everyday and Extraordinary, Arts Council Collection at Towner Gallery, Eastbourne, 2018-19 Kaunas Mene M. Žilinsko dailės galerija, Kaunas, touring to Palanga, Lithuania, 2018-19.CITE, Bo Lee Gallery London, Internal Structure: ExternalForm, Angus Hughes, Cellar Gallery, London. 2018.
She was Shortlisted for the Mark Tanner Sculpture Award in 2016 and 2013 and was the solo exhibition winner at Void Gallery Open Sculpture exhibition in 2013. She is a member of the Royal Society of Sculptors.
https://hermioneallsopp.com. | Instagram: @hermioneallsopp
Sasha Bowles is a London based multi-disciplinary artist. She works across painting, objects, film and installation. Her practice deals with illusion, intervention, and metamorphosis to explore the past through reinterpretation of artworks and artefacts placed within reimagined architectural and historical contextualization to create a playful immersive experience.Her practice is an evolving loop, dealing with illusion, intervention and metamorphosis; immersing herself in historical tropes encountered in houses of grandeur and often using as a jumping off point; the Baroque bravura of artifice.
Taking her starting point from ‘Old Masters’ paintings, photographs and classical architectural interiors; Bowles’ acts as a mischievous collaborator, working in alliance with the past. She then re-presents; subverting classical narratives and environments, cloaking and rearranging the images in a multitude of ways to open up new interpretations in new situations. The object interacts with its context and vice versa; by using architectural, museum and domestic display Sasha is examining boundaries that cross between spaces and how the display and context of objects and artworks effects are reading and engagement with it. The known becomes uncanny and challenges us to re-evaluate our interpretation and engagement of the familiar.
Biography: Sasha is an artist and occasional curator; she has a MA from Wimbledon College of art graduating in 2013. Solo shows: Hairy Interventions, Arthouse1 Gallery, (2018);Appropriating the Past, Fieldgate Gallery, (2018) Doo-plis-i-teeat 286 Gallery, London, (2016)
Selected group exhibitions include: Gilbert Bayes Award (Royal Society of Sculptors 2021); Model Maquette (Cello Factory 2021); The Immaculate Dream(Collyer Bristow Gallery 2019); Observation Rooms(Arthouse1 Gallery 2018); Subsumed(Crypt Gallery, 2018) In the Future(Collyer Bristow Gallery 2018); Face to Face(Angus-Hughes Gallery 2018); Reportrait, (Nottingham Castle Museum 2017); Creekside Open(APT 2017 & 2019); Young Masters(2017); A Table of Elements(2017); Window Sill(Griffin Gallery 2017); Shape_Shifters(Arthouse1 2016); Complicity, (Collyer Bristow Gallery 2016); COUNTER_FITTERS(Geddes Gallery 2016); The Crash Open & Photo and Print Open(Charlie Dutton); No-One Lives in the Real World, (Standpoint Gallery 2015); Bonfire of the Vanities(Display Gallery 2015); Discernible(Zeitgeist Arts Projects), Catalyst (Angus Hughes Gallery & Husk Gallery 2015).
Sasha has also exhibited at The Royal Academy Summer Exhibition (invited artist), The Discerning Eye (winning the Benton Prize), Oriel Davies, The Open West and won the Gilbert Bayes Award in 2020. Curation includes: Face to Face(Angus-Hughes Gallery 2018) COUNTER_FITTERS(Geddes Gallery 2016) and Catalyst(Husk Gallery 2015) ‘Bodies That Matter’ ( ArtLacuna 2013) and co-produced The Bodies That Matter 3 publication in 2014.Bowles has work in the UAL, Ahmanson and private collections in Britain, Europe and America. She lives and works in London.
https://www.sashabowles.co.uk. | Instagram: @Sashabowles1
Rosalind Davis and Justin Hibbs
Davis and Hibbs’ collaborations bring together different aspects of their respective artists’practices to create transformative and experiential installations. The works are constructed site specifically and site-responsively, using modular elements such as steel frames and mirrors. Perspex and mirrored sculptures both reflect and reconfigure the space, acting as an endlessly changing compositional device as the viewer navigates the work. Creating both a disorientating and mesmerising effect, the work investigates “how space can be both clearly and deceivingly bordered, walled, outlined and mirrored. Their resulting work highlights possibilities, pathways and dead ends as short-lived arrangements which, despite their calculated appearance, are actually subjective compositions, susceptible to constant re-assembly.” Jillian Knipe, Wall Street International.
‘Artistic production is nodal, networked, and a perpetually unfinished project, things nudging each other, domino effects transpiring. The real-world analogue of this is that in an artist’s studio, it’s always a transitional moment: the detached artwork as standalone statement is a falsity, a piece of theatre. In reality, one thing leads to another, all kinds of ambient forces shaping what’s made’(Martin Herbert).
About the Artists: Biographies:
Rosalind Davis is an artist, curator and a graduate of The Royal College of Art (2005) and Chelsea College of Art (2003). As an artist Davis has exhibited nationally and internationally. Solo shows include: no format Gallery (2017), the Bruce Castle Museum (2013); John Jones & Julian Hartnoll Gallery (2009); The Residence Gallery (2007). Selected group exhibitions: The Courtauld Institute; JGM Gallery, Arthouse1, Bo Lee Gallery, Standpoint Gallery, Thameside Gallery, Transition Gallery; The Roundhouse; The ING Discerning Eye; The Lynn Painters Stainers Prize, Sevenoaks Kaleidoscope Gallery and no format Gallery. Her work is held in a number of private and public collections. Davis was the Curator at Collyer Bristow Gallery; a dynamic gallery in a law firm 2016-20. She previously co-directed and developed two arts organizations; Zeitgeist Arts Projects (ZAP 2012-15) and Core Gallery (2009-11) and co-authored What they Didn’t Teach you in Art School.
Justin Hibbs studied at Central St Martins, London (1991-94) He has exhibited his work both nationally and internationally and has also curated a series of artist-led exhibitions. Solo shows include: Between Before and After at Arroniz Arte in Mexico City (2018), Alias_Re_Covered (2015) at Carroll / Fletcher; PARA/SITE (2013) & Secondary Modern (2010) at Christinger De Mayo Gallery, Switzerland; Altneuland (2007), Lucy Mackintosh Gallery, Switzerland; Metroparadisiac (2006) and I'll Wait For You (2005) at the One in the Other Gallery, London. Selected group exhibitions: Observation Rooms, Arthouse1, Rules of Freedom, Collyer Bristow Gallery, London, Shapeshifters, Arthouse1 London; Abstraction I, Arroniz Gallery, Mexico, Pencil/Line/Eraser (2014), Carroll / Fletcher, London; Superstructures (2013), Arroniz Arte, Mexico City; Oh My Complex, Kunstverien Stuttgart, Germany.
Since 2018 Davis and Hibbs has alongside their own practice have been working on collaborations with artist Justin Hibbs making site specific works for no format gallery, Seven Oaks Kaleidoscope Gallery, (London and Sevenoaks, 2018) Arthouse1, My Cup of Coffee is your Cup of Tea and the Foundry Gallery (London, 2019), JGM Gallery curated by Karen David, Koppel Projects curated by Alexander Stavrou (2020). In 2021 Davis and Hibbs collaborated with Jamal Sterrett on an ITV Ident that played throughout July to millions of viewers.
www.justinhibbs.com. | Instagram: @Justinjhibbs
www.rosalindddavis.co.uk. | Instagram: @rosalindnldavis
Richard Perry’s recent work explores the juxtaposition between organic freeform and geometric sculpture. A conflict between careful planning and intuitive adjustment arises in the process of creating these sculptures, resulting in illusory forms that strive to break free from an underlying rationale.
Biography: Richard is a Nottinghamshire-based artist working primarily in stone sculpture. He studied Fine Art at Leeds Polytechnic, graduating in 1981. His sculpture, drawing and painting have been exhibited widely, including recent solo shows in London and Nottingham. He has also fulfilled many commissions for large sculpture in public spaces, nationally and internationally – notable works include Starstone in Armagh, Needle in Jersey (which received a National Stone Federation Award), Fountain Trees in Basingstoke, and the design and carving of the stone work for the remodelled Peace Gardens in Sheffield (which received a RIBA National Urban DDesign Award). His work is held in many public and private collections, and he also shows regularly with Brownsword Hepworth Gallery in London, and Gallery 57 in Arundel.
https://richardperrysculpture.com | Instagram: @richard_perryart
Lex Shute is a sculptor working predominantly in glass, agates, lead, steel and concrete, and a painter in oils using techniques of automatism and free association.Addressing the relationship between spiritual discourse, feminism and ecology, her practice aims to form a speculative spiritual system. With a background in Anthropology she traverses different time periods and cultures to explore aspects of female power in reference to visionaries, witchcraft, mediumship, the occult, mythic archetypes and craft. Shute’s work reflects on the primacy of the natural world in our spiritual development, from the chemical enlightenment of natural hallucinogens and their impact on the evolution of human consciousness, to the magical properties of crystals, semi-precious stone and the vision inducing material of glass. With an interest in fictional realities and sci-fi utopianism, and through a syncretism of different philosophical, religious and cultural practices she proposes a counter culture and alternate system of belief
Biography: Lex Shute (b. 1972, London) read Sociology at the University of Greenwich before studying Fine Art for three years at the University of the West of England. She subsequently gained a Postgraduate Diploma from Chelsea College of Art and a Masters degree from the Royal College of Art. She has exhibited in Europe and the States and widely throughout the UK including at the Royal Academy’s Summer Exhibition, the Princes Foundation Gallery, the Mall Galleries and Orleans House Gallery. Solo exhibitions have been Of Truth of Clouds, South Hill Park Arts Centre, Berkshire (2013) and Future Proof, Opus Gallery, Newcastle (2011). She has been shortlisted for the Lynn Painter-Stainers Prize, the Rising Stars Prize, won third place in the Woolgather Art Prize and in 2019 was awarded a place on the Travers Smith CSR Programme. Her work is held in private collections in the UK, USA and Germany as well as the Cill Rialaig Arts Collection, Ireland. She published an artists’ book In Search of an Author (ArtCircus Books) in 2016.
https://www.lexshute.com. | Instagram: @lexshute
Lisa Traxler’s painting and sculpture often recall the schemes of earlier works giving rise to interpretation and further possibilities. This duality between the physicality of wall based surfaceand the spatial situation of floor based ‘object’ works is an ongoing dialogue. Her sculptural works rely on the process of slotting to form the final outcome. The paint is applied, a combination of colour choices creating rhythm on the surface activated once the shapes are slotted into place, comparable to fabric brought to life once its is made into a garment. The form of the construction is familiar from the maquette relationship but the cohesion of colour and scale is revealed once the pieces are in situ.The relationship of materials is a further connection to Traxler’s surroundings. Having had the challenge of working with non-traditional, industrial materials in an architectural setting, especially large scale, has enabled her to develop ideas beyond the studio. The excitement of working with new medium creates a different stimulus: vitreous enamelled steel, poplar ply, paper and wood composite, acrylic and paper. Sketchbook and thought lead to ‘drawing’ with paper in maquette form, samples of the material always on hand. Each part of the procedure is exacting.Traxler is comfortable working in both two and three dimensions whilst exploring ways to unite them. Her works are concerned with connection to immediate landscape often incorporating historical references. Hers is landscape of ‘place’, an abstract concept rather than traditional depiction. The fragility and transience of the natural world and our architectural imprint on it arethe physical environment that encourages her colour palette and form. The expansiveness of the wild weather worn coastline where she lives create ever-changing hues and tones.
Biography:
Lisa Traxler is an elected member of the Royal Society of Sculptors (2017) and Royal Watercolour Society (2015). Originally from London, Traxler now lives and works on the south coast of the Isle of Wight, UK. She has been the recipient of a number of awards and has exhibited in solo and group exhibitions throughout the UK and Europe. Her work is held in both public and private collections. Traxler embraces the partnership of two and three dimensional form responding to former architectural spaces.
Recent projects include her solo Arts Council Grant Awarded exhibition ‘Blast Wall’ touring from The Foundry Gallery, London to a former WW2 Radar Bunker, IW, 2021, ACE funded duo exhibition, Dazzle + Disrupt, West Gallery, IW 2021. BUILD solo exhibition touring from Penwith Gallery, St. Ives to Surface Matter Materials Library, part of London Design Festival, London Fields, Hackney, 2017. Group shows include Southampton City Arts Gallery, St. Barbe Museum, The Lightbox, Woking, The Greenhouse, Berlin, & Palazzo Ca’ Zanardi, Venice. Awards include Southampton City Arts Gallery Open Exhibition winner (2020), Jeff Lowe Sculpture Award Winner, The London Group (2019), Little Forest Land Art Competition Winner, 2019. Traxler hand painted an exterior vitreous enamelled steel mural and sculptures which featured on a house build with architectural designer, Lincoln Miles, for national television (Grand Designs, Channel 4, 2010/12). She is co-recipient of the Architect’s Journal Small Build Award, London (2011) by the architect Will Alsop. She collaborated with furniture designer, Steuart Padwick, with a hand painted enamelled steel folding table that hangs as wall art, featured at London Design Festival (2016). Her geometric designed exterior cladding and staircase featured in Sunday Times Home (September, 2017) & METRO newspaper (2019) alongside a vitreous enamelled steel interior work surface.
https://sculptors.org.uk/artists/lisa-traxler | Instagram @lisa.traxler
Andrea V. Wright
Transformation has always been an important component in Andrea V. Wrights practice, whether through materials or methodology. Utilising geometric and organic structural references, her work employs a hybrid of controlled elements: highly finished clean lines, spatial arrangements and compositions. The contrasting materials (leather, latex, fabric, rubber), paired or arranged with structures, are often a record of surfaces, of moments in time where works are developed within the specific site context. These elements are woven into her practice suggesting a veiled architecture that reflects the body’s structure and stance. Rigid substrates of wood and steel contrast against the soft supple weight of powdered latex rubber, pointing to the ways that we drape our own bodies in an attempt to disguise what lies within. The seen and the unseen, the experienced and the intangible are her building blocks, presenting a vertical stage onto which crafted or industrially manufactured materials are wrapped, pinned and draped. The formal language inherent in her work contrasts with the handmade that brings a human, haptic quality to it, reflecting the relationship between the human form and the physical & emotional spaces we inhabit.
Biography
Andrea V. Wright is a multi-disciplinary visual artist currently based in Bath, UK. She graduated with a BA from Chelsea College of Art & Design in 1994 and embarked on a career in fashion, styling and music working with magazines such as The Face, Arena and Italian Vogue before re- engaging with her art practice in 2010. Since graduating with distinction with an MFA, from Bath School of Art & Design in 2016 she has been invited to exhibit at Arthouse1, the Collyer Bristow Gallery curated by Rosalind Davis, the Koppel Project, ’New Relics’ at Thames Side Studios, Prevent This Tragedy at Von Goetz, Post Institute curated by Dateagle Art, ’Index’ curated by ThorpStavri and ‘Super Flatland’ curated by Paul Carey Kent and Yuki Miyake.
Andrea had her first Solo Show in 2019 at Galeria Nordes, Spain and was recently selected for the Jerwood Drawing Prize 2017, Royal Society of Sculptors Bursary Award 2017/18, the Ingram Collection Purchase Prize 2019 and the ING Discerning Eye 2020 selected by curator Jo Baring.
https://sculptors.org.uk/artists/andrea-v-wright | Insta: @andreavwright
