For #Five2Watch this week we've selected five artists who create installations: Bethan Hughes, Robert Foster, Duncan Mountford, Jeannie Driver and Zoe Preece.
Bodies of Water, 2017
Installation consisting of a 4 minute rendered video loop shown on a smashed flat-screen TV suspended with scaffold, latex, 40 second video loop on cracked iPad, vinyl text, risograph print, photocopies, plastic bags, water.
Centred around a 3D rendering of the sea, 'Bodies of Water' attempts to describe ideas of digital fluidity, flux and precarity. Notions of the body and disembodiment in the digital realm (lost at sea, adrift, in stormy waters) are central themes.
Scuola (a space for exchange), 2020
Scuola (a space for exchange) is inspired by my research into the history of paper marbling, its relation to trade and the transmission of ideas in the city of Venice, conducted during the Venice Steward Research Fellowship funded by The British Council and Wysing Arts Centre in 2019.
The installation considers a network of histories interwoven and influenced by acts of artistic production, incorporating craft, interventions and chance associations.
Incorporating Suminagashi, marbled mono-prints, found objects and digital text collages the work offers a network of prompts inspired by Venice as a city of interactions.
Exhibited at Interesting Times in Venice at London Metropolitan University in 2020, the installation provided a environment for the live making of marbled prints, becoming a temporary workshop, or atelier, inspired by the artisans of Venice.
Installation of a gate-way structure, a forced perspective corridor, and 8 1/35 scale architectural models of edgeland buildings. Lighting was from worklights over the models.
Doggerland is a metaphor for the fragility of settlement, for the point where humanity went from hunter/gatherers to settled farmers, a symbol for contemporary capitalism and the resulting heating world.
Doggerland’s concrete buildings exist between military infrastructure and industrial ruin. The architecture reflects memories of edge-lands; in the UK around the River Mersey towards the industrial centre of Widnes; and in Taiwan the coast around Taoyuan Airport. These sites are unfixed in time, seemingly as if ghosts from a future catastrophe.
There is a play with perception in the forced perspective corridors (further fragments of a contemporary world). The corridors drag you in, the bureaucratic nightmare of forms and emails, endless but going nowhere.
The Space Between, 2020
Commissioned for the Dazzle & Disrupt exhibition at Quay Arts, Isle of Wight.
this installation expands Jeannie's wall installations into the 3D space as walk in drawing.
Based on the isometric grid, the installation of charcoal coated shapes and paper lines, appear on the wall. Hovering shapes in the mid and foreground, invite the viewer into the drawing, to frame their own view and look for space between. Through this movement, lines interact and distance is put into question, reflecting the intention of the Dazzle designs purpose of altering the perception of distance, movement and scale.
11 wall mounted charcoal rhomboid forms, charocal coated paper strips, stainless steel pins, 4 suspended rhomboid forms, three spines with charcoal coated paper strips, light and shadow.
An Archive Of Longing II, 2020
An Archive of Longing II is a work made up of porcelain forms that tenderly capture kitchen still lifes, marking moments in time. The pieces are informed by everyday domestic and ordinary moments and evoke a sense of intimacy. Time shared over a cup of tea or supper at home is very personal and this work recollects those moments. It posits a reminder for us to acknowledge these transient punctuations in our everyday.
The work An Archive of Longing II was exhibited as part of a group show curated by Ceri Jones specifically for New Brewery Arts. It was a direct development of a long-running and popular initiative called The Language of Clay, which comprised a series of solo exhibitions touring a network of galleries across Wales.
A Language of Clay presented ceramic work from six artists; Justine Allison, Anne Gibbs, Kate Haywood, Lisa Krigel, Ingrid Murphy and Zoe Preece. Highly regarded in their respective fields, each artist explores the material and aesthetic qualities of clay from different perspectives. Their practices are richly diverse, though are united by a tenacious and skills-based approach. Whether motivated by function, form, social interaction or personal experience, each artist undertakes her practice with a keen sense of materiality.
A Language of Clay, 1st August – 3rd October 2020
Published 22 July 2021