Approved: 08.04.2012

Aylwin Greenwood-Lambert

Artist

Approved: 08.04.2012

My current practice grew from a weariness of the first – I had become bored of using objects as symbols with which to pass ideas to an audience - it was the objects themselves and the very fact that they could be used in this manner that interested me. What could be communicated verbally was abandoned and focus placed on an “attempt to understand the relationships that exist within the network of physical and abstract elements comprising (objects)” with an “intuitive logic” being applied in deciding how to interact with each object in order to accentuate these relationships. Decisions were kept to a minimum and interactions made as visible as possible, the hope being that an audience would be able to see the processes of production and understand the new objects as intended.

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  • Location: Nottingham, East Midlands
  • Activities: Practice-based research
  • Artforms / Project Types: Book Works, Film & Video, Photography, Sculpture, Text
  • Tags: Object, Thingness, Function, Meaning, Metaphysics, Process, Aesthetics, Conceptual, Objecthood
 
 

Biography

My current practice grew from a weariness of the first – I had become bored of using objects as symbols with which to pass ideas to an audience - it was the objects themselves and the very fact that they could be used in this manner that interested me. What could be communicated verbally was abandoned and focus placed on an “attempt to understand the relationships that exist within the network of physical and abstract elements comprising (objects)” with an “intuitive logic” being applied in deciding how to interact with each object in order to accentuate these relationships. Decisions were kept to a minimum and interactions made as visible as possible, the hope being that an audience would be able to see the processes of production and understand the new objects as intended.

 

Recently this framework has undergone changes. The bending and breaking of certain rules has become necessary in order to prevent these constricting possibilities and making my practice formulaic - their removal has allowed fresh ideas to enter and for methods to be tested, stretched and developed. The primary focus itself has shifted to how meaning and aesthetics arise within an object and with increased frequency the process of making is driven forward by using function as a Macguffin. Simultaneously the breaking down of rules has meant that the variety of functions used as starting points has begun to expand and now includes deliberate attempts to transmit meanings to an audience. However this is done in a spirit of roleplaying and experimentation – it is the mechanisms of transmission that are of interest. These changes have led to uncertainty flooding into my practice, both opening up new areas for exploration and forcing a greater confidence in decision making, something that has been strengthened by the recognition that what was being referred to as intuitive logic is more likely to be incubated knowledge manifesting itself tacitly.

 

There is also a new acceptance that the previous desire for an audience to treat the objects produced in a specific manner left these open to the failures and misunderstandings inherent in things whose production is the result of an attempt to understand the very mechanisms by which they are then expected to operate.  Each object is a physical artefact resulting from a line of enquiry and the viewer can at best be expected to act as an archaeologist would, attempting to simultaneously piece together enough of an understanding of both an object and the situation within which it was produced in order to gain some level of insight.

 

This statement is intended to make the objects produced accessible but it is hampered by the limitations of language and by its existence as a mere snapshot of something which is fluid – it itself can only ever be another artefact. Furthermore it should be noted that the descriptions given of the beginnings of this practice and its recent developments are facts that were primarily realised after the event so no doubt there are omissions about things currently happening within my practice that have yet to understood or even recognised. 

CV & Education

Qualifications and training

Currently studying MA Fine Art, Sheffield Hallam University, Sheffield

2006 - BA (hons) Fine Art 2:1, University of Lincoln, Lincoln

 

Solo exhibitions

2008 - Pop Hauntology, Southwell Art Space, Southwell, Nottinghamshire

 

Group exhibitions

2015 - Connected, Online Exhibition – http://connectedonline.tumblr.com/archive

2015 - Sheffield Artists Book Prize, Bank Street Arts, Sheffield

2015 - Prism 17, Millennium Galleries, Sheffield

2015 - Showdown, Bloc Projects, Sheffield

2015 - The Imaginary Museum: Monuments and Landmarks, University of Leeds, Leeds

2015 - The Imaginary Museum: Art Library as Archive, Leeds College of Art Library, Leeds

2015 - The Editions,The Tetley, Leeds

2015 - Lorem Ipsum,The Tetley, Leeds

2015 - The Kippenberger Challenge,The Tetley, Leeds

2014 - Looking at the Reflection of Reality, Mark Deveraux Projects, Manchester

2014 - Bundle of Sticks, Spode Works, Stoke on Trent

2014 - Members Show, Mexico, Leeds

2013 - Beyond Merely Assesmbling, Mark Devereux Projects, Manchester

2013 - Bankley Open, Bankley Gallery, Manchester

2013 - Hot One Hundred, Schwartz Gallery, Hackney Wick, London

2013 - Narrative, Point A to Point B, Fresh Meat Gallery @ LCB Depot, Leicester

2013 - Void Open 2013, Void Art Gallery, Hoxton Arches, Hoxton, London

2013 - Worcester Open 2013 (Special Commendation Awarded), Worcester Museum and Art Gallery, Worcester

2012 - International Open Show 2012, Surface Gallery, Nottingham

2012 - MICROCOSM, Departure Foundation, Ellington Building, Leeds Valley Park,, Leeds

2012 - Museum of [ ] Objects - Phase 3, Plot 6, Allotment, Midlands Arts Centre, Birmingham

2012 - Nottingham Castle Annual Open 2012, Nottingham Castle Museum and Art Gallery, Nottingham

2011 - Piecers and Scavangers, Backlit Gallery, Nottingham

2011 - Agency of Unrealised Projects, Kopfbau, Art Basel,Switzerland

2010 - Backlit Group Show, Backlit Gallery, Nottingham

2010 - We are here, Wallner gallery, Nottingham

2008 - Making Marks, Hand and Heart Gallery, Nottingham

2008 - Surface Gallery Open Exhibition, Surface Gallery, Nottingham

2007 - Lakeside Open Auction, Lakeside Gallery, Nottingham

2007 - Nottinghm Castle Open Exhibtion, Angel Row Gallery, Nottingham

2006 - Pick and Mix, Sam Scorer Gallery, Lincoln

 

Publications, Review and Interviews

2014 - Derek Horton on Art & Curation - This is Central Station

http://thisiscentralstation.com/featured-blog/derek-horton-on-art-curation/

2014 - The Forward Slash - Charlie Levine and Lauren Cookson

http://www.charlielevine.org/the-forward-slash.html

2014 - Mexico Members Show Catalogue

2013 - Peripheral Arteries Special Issue - July 

http://issuu.com/artpress/docs/peripheral_arteries_art_review_-__j_425b53057d6fc3/4&lang=en

2013 - Worcester Open 2013 Catalogue

2008 - Artist Profile, Left Lion, Issue 26

2008 - An Art Commentary, leftlion.co.uk, 20/10/2008

 http://www.leftlion.co.uk/articles.cfm/title/an-art-commentary/id/2316#.Ul4ybFB1_Ak

 

Awards

Completed The Kippenberber Challenge (7.45 Books) - 7th OCtober 2014 to 7th October 2015

Shortlisted for the Bankley Gallery Open Exhibition Award 2013, Bankley Gallery, Manchester

Special Commendation for the Worcester Open 2013, Worcester Museum and Art Gallery, Worcester