For #Five2Watch this week we've selected five artists who have explored collaboration within their work: James Woolley, James Eddy, Robyn LeRoy-Evans, Gloria Ronchi and Lyndall Phelps.
249, installation, collaboration with Naomi Tattum, 2012 - 2014
'249' was an exhibition of Naomi Tattum's work which was curated for a graduate exhibition at 20-21 Visual Arts Center in Scunthorpe. The work was a piano which had been buried for 2 years. Exploring a range of issues including context, authorship and ownership we exhibited the piece behind a glass cabinet in a museum context. The exhibition lasted for 3 months in 2014. This was the third project we had done with the piano with several separate projects emerging from the exhibition.
'River of Life’, 2016
An arts, science and horticulture collaboration. Funded by Exeter University and The Eden Project collaboration fund.
The Landscapes for life project is a collaboration between an Exeter University researcher, an Eden Project horticulturist and an artist. Inspired by a Phd studying our experiences of nature as we go through life. Particular focus was given to how and why particular natural setting become more or less meaningful with shifts in our life circumstances, relationships and well being priorities.
The River of Life sculpture, made of individual river boulders, describes the geographical life of a river. The sculpture is set in a garden that will mature over time, including a giant redwood and a dawn redwood tree.
Form(ed), 2012 - 2014
Form(ed) is a cross-disciplinary investigation, exploring the bond between the vessel and the female figure. Clay vessels will be made by Canadian ceramic artist Dianne Lee, and then re-worked or ‘unmade’, by UK visual artist Robyn LeRoy-Evans, before they are finally dried and fired. Both artists will use their own body as the primary tool whilst forming and un-forming these sculptures.
This unusual collaboration between a potter and a photographer allows both artists to develop their shared fascination and appreciation for the vessel and the role of the female form. Dianne and Robyn feel personally bound to clay due to their own individual experiences and associations with the material, one they consider to be highly charged and weighted in emotion. It is hoped that their shared intimate connection to the substance will be portrayed sensitively and seductively throughout their investigation.
Robyn and Dianne met in the UK in 2007. Whilst studying towards a BA in Fine Art, Robyn LeRoy-Evans began developing a body of photographic work around the vessel and the bond it shares with the female figure, an exploration she has carried into her emerging art career. Since graduating in 2006 with a Degree in Design, Dianne Lee has focused on her professional practice, developing the form and function of her pottery. Intrigued by Robyn's latest work, Dianne proposed an idea for a cross-disciplinary collaborative venture in October 2012.
The artists wish to develop Form(ed) naturally and intuitively, making decisions about process and integrating possible thematic elements as the project evolves. Having now worked together in both Toronto and London, Dianne and Robyn look forward to seeing where Form(ed) takes them next.
An interactive light installation, which visualises the ‘gender experiences’ of the audience; the engagement revolves around individual’s gender perceptions using a colourful gradient to tag experiences between the polar labels of 'Feminine’ and ‘Masculine' and all the grades in between, departing from the binary logic of gender representation to question pre-assumptions.
The project resulted from the collaboration with Dr. Kevin Hilton, Reader in Designing for Transformational Experiences at Northumbria University; and his public lecture - Can we change our mind about gender?- complemented this successful partnership.
Supported using public funding by Arts Council England
Covariance was the first in a programme of artists-in-residence commissioned by the Institute of Physics, London, called Superposition, which brings together artists and physicists to develop new ideas and artworks. I collaborated with Dr Ben Still, a particle physicist from Queen Mary, University of London. The installation brings together a range of different influences including the function and aesthetics of particle detectors, the way research data is analysed and visualised by physicists now and in the past and the materials used in historic scientific instruments.
Published 28 August 2020