Untitled - DSpace at Cardiff Met

l'
a piimèje zkoumat, zabfvat se i bavit nad vztahy mezi barvami,
tvary a podobami piedmètú.
Tichli,kontemplativníprocesa pozornostvènovanétvorbè vdechly objektúm Zivotnísílua propújÈilyZivotjinak neZivému.
Z uvedené ZivotnísílyÈerpajíprécev prvním vfstavním prostoru,jeà navozujípocit pozastavenéhookamZiku.Souhra neZivfch piedmètù vytvoienyichze skla,svétla,hmyzu a kú2íje odvoléním na lésku,zlrélu, sex a smrt. Ka2dilz nich je svúdnè krésnf,
nicménè prezentovanlis lehkostí,které znepokojuje stejnou
mérou,ja kou pied mèty vyvolévají,,2aIíbení".
jsou souBarevnéfotografieinstalacínaprincipusite-specific
Èéstíprojekturealizovanéhopo celém Walesu,na kterém autorka
v souèasnostipracuje.Podstatatohoto projektu s nézvem,,Bound"
(Svézanost)spoèívév zavinutíodumiellich vèkovitfch stromú do
tkaniny.
Tento rozséhl! projekt podpoÌilo ocenèníCreativeWalesAward
udélené Arts Council of Wales.Autorka na vysvètlenou píie:,,Diív
jsem byla mèstskésleèna.Casyse ale mèní a pravidelnécestovéní
po Walesumè v posledníchletechnevyhnutelnèpÍitéhlo k venkovu.V prúbéhu Èasu,jaksi mimodèk,jsem si uvèdomila,jak jsem
opiedené pouty ke krajinèa vytvéiím si vlastnía hlubSíkontakt
s venkovem.
Na svlich cestéchjsem zaèalauva2ovato zéchytnlichbodech,
kteréby mohly poméhatv orientacilidem,co krajinoucestují
nebo si vymezují svúj domov a jeho hranice.Zataly mé pÍitahovat
kostely,ziíceniny,seskupenístaryichstromù, kamenné zídkya mústky uprostÍed zÍídka navitèvovanfch polí. Zatalajsem se dozvídat o krajinèa o tom, jak ji utvéiel èlovéka prúmysl.
AèkolinejsemVelSanka,
doSlomi, 2eWalesprolnul mojí duÉí
a duchem a chtèlajsem tedy vytvoÍit dílo,kterése odvolévék zemi,
zní2terpém, a je zéroverijejí oslavou.
Walessestévéze 13 hrabství.Souèéstíprojektu je prúzkum
a nalezeníjednoho starobyléhostromu v kaZdémhrabství,kteryT
lze ovinout a zdokumentovat.Jde o stromy,které èastomíjíme
a jejich zaobaleníje vfrazem prokézanéúcty i meditacezasvècenéjeho (i naií) minulosti,piítomnostia budoucnosti.Je dúleiité, aby stromy byly viditelnéze silnicnebo pou2ívanfchpè5in,tak
aby divéky byli ti, kteií prochézejíkolem nebo cestujídanouoblastí.
v Carmarthenshire,
Úspèchprvního poèinu projektu,,Bound"
jeZ se odehrélv rémciakce,,Explorations"
(Zkouméní)vNérodní
botanickézahradèWalesu,spoèívalv oslovenía navézéníkontaktu s veÍejností.Strohé,do bílé ladèné elegancetohoto zavinutého staréhodubu, kterf je sém o sobè oblíbenlim a èastonavitèvovanyimmístem v zahradè,upoutala pohledy a piedstavivost
daliích név5tèvníkú.Lidé poukazovalina motivy paroíí, bleskú
a hub, na mumifikovéníipovijan.Nechybèlopobavenía radost.
Névítèvnícicítili nutkénídotknout se kmene a nikdo neminul
strom bez komentéÍe.Néslednfúspéchtohoto díla plyne z jeho
schopnostipodnítit v lidech schopnost,,vidèt"a radovat se.
Múj zéjem o zaobalovénípodnítiljaponskliobalovli a spotiební
design a vfstava nazvané:,,Pèt
zpúsobú jak zabalit vejce".V roce
2002jsem navitívilaTokioa Kjóto,kde je u chrémú zvykem uvazovat na dÍevène tyèe ,,mluvící"létkovéa papírovémodlitebnívlajeÈky.
Précena tomto díleje velmividitelnéa spojujemè s krajinou,
a to jak v Èase- trévím celé hodiny pÍípravoua celé dny na místè,
kde ovazuji danyistrom - tak prostÍednictvím sbèru informacía rozhovorú s lidmi, kterlim púda patiía kdo na ní pracujíl'
Toto dílo rozvíjímyÉlenkovévfchodiska tvorby Philippy
Lawrence,v níi jsou viední, kaàdodenníapiehlíàenézéleZitosti
reprezentovénypied divékemcoby ikony;tento zpúsob uvaZovéní
je ziejmtj ze viech prací,které autorka zvolila pro tuto vfstavu.
PhilippaLawrence
Theworksin this exhibitionby PhilippaLawrenceillustratea breadthand diversityboth in the materialssheemploysand in the act
of making.Withinthreeseparateroomswe enjoyher responseto exhibitat"Houseof Art"; photographicdocumentationofwrapped
deadtrees,piercedparchmentpiecesand site-specific
installationworks."BloodPool"and its supportwork of mirrorand insects,rose
tattoosand spermphotogramand the hanginginstallationsweremadespecifically
forthis exhibitionand in responseto the gallery
soace.
Thisis very much part of her practice- to makework that references
site.Thereis alsoa desireto learnaboutand understandthe
materialworld,to meetpeoplethroughher researchand practiceand to makea realandlastingconnectionto both peopleand place.
ldeasoften requirethe acquisitionofa new setof skillsor knowledge.Theglassspermswere madeovera periodof week at an evening classin scientifìcglassblowingand"BloodPool"wascommissioned
in CzechRepublic.
Herwork honoursthe simpleelementsthat constituteour everydayexperience,
Workis beguiling,and celebratory,The
commonplace,overlookedand mundaneis reinterpretedand throughthe artistsattentionits statusis elevated.A graduatefrom the RoyalCollegeofArt in FineArt Printmakingsheis interestedin the multiple,eitherrepeatingan actionor repeatedlyre-employinga seemingly
insignificantobjectin an explorationand studyof difference.
Patternand"play"areboth pertinenqpatternin natureand in our dailylives- the patternof living.Themarkswe inadvertently
makeand the tracesthat we leavebehindin ourcontinualpersonalandcollectiverituals,Shehasan eyefor life'sdetailsand herwork
illustratesan evidentdelight in the"stuff"thatsunoundsus.
Someworksareso delicateasto seemalmostnon-existent."Barely
there"piercedsheepskinparchmenttthe shapesaredrawnfrom
escutcheonplatesand from tattoosexplorethe placementand relationshipof objects,whilstthe actualpatternofthe pierceholes
marktime-spentin making.Theskinsaresemi-permeable
and the piercedholesaccentuatethis.Process
is key,asis the time and labour investedin the elementsthat constitutetheseoieces.
Thisobsessive
attentionis evidentacrossallthe workson show.Perhapsmostobviouslyin her untitledsuspendedinstallationpieces.Thesecompositionsof manyhundredsof ordinary,discardedmetalobjects- an extensivecolle€tion,the by productsof her partnersown creativeenterpriseand manufacture;
nutt bolts,screws,keys,nails,pins- are suspendedto form separatelya sphereand
a w a l l i n s p a c eE
. a c hi n d i v i d u a el l e m e n ti s b o t h s e p a r a t ef r o m
and united to the other parts.The work drawsyou in to investigate,to study and to enjoy the relationshipbetween the object's
colour,shapeand form.
The quiet, contemplative processand the attention investedin
the piece breathsa life force into the work and lends a life force
to what is essentiallyinanimate.
It is this life force that the first room reliesupon - to create
a senseof a suspendedmoment: inanimateobjectsmade from
glass,light, insectsand skin work together to referencelove, loss,
sexand death.Eachis seductivelybeautifulbut presentedwith
a lightnessof touch that unsettlesas much as they'delight'i
The colour printsof sited,temporaryinstallationwork are part
of a project the artist is currently involved in making acrossWales.Theproject"Bound"isin essencethe binding in cloth of ancient dead trees.
Thismajor project has been supportedwith an Arts Councilof
WalesCreativeWalesAward and in explanationthe artistwrites:
"l usedto be a tity girli Timeschangeand recentyearsof regular travel acrossWalesdrew me inextricablyto the country. Over
time, quietly,almost'unnoticed'lfound myselfwoven to the
land,developinga personalanddeeper understandingof the
countryside.
On journeysI began thinking about the referencepoints that
would have servedas markersfor travellersand those defining
their home and its boundaries.I becamedrawn to churches,
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r u i n s ,a n c i e n tc l u m p so f t r e e s ,s t o n e w a l l sa,n d b r i d g e si n f i e l d s
s e l d o mv i s i t e d I. b e g a nt o l e a r na b o u t t h e l a n d a n d t h e w a y i t h a s
been shapedby man and industry.
Whilst not WelshI found that Waleshas enteredmy psyche
and spirit I wanted to make a work which referencedand celebratedthe land that supportsme'i
Thereare 13 old countiesof Wales.The project is to explore
and to locatean ancienttree in each of the countiesthat can be
wrapped and documented,treesthat we so often passand to
wrap thesedead treesin an act of venerationand meditationon
its (and ours)past,presentand future.lt is crucialto be able to
seethe treesfrom the road or from a well-worn path so that the
audienceis those that passby or through the area.
The successof the first"Bound"in Carmarthenshire
(aspart
of "Explorations"at
the NationalBotanicGardenof Wales)was
in its abilityto reachand connectto the public.The stark,white
eleganceof this bound dead oak tree,alreadya much loved and
revisitedlandmarkin the gardensdrew the gazeand imagination
of subsequentvisitors.References
were made to antlers,lightening and to fungi, to mummificationand to swaddling.Therewas
amusementand enjoyment.Peoplewere compelledto touch
i t s t r u n k a n d n o n e p a s s e di t w i t h o u t c o m m e n t .T h e c o n t i n u i n g
successof the work is due to its ability to make people"see"and
to enjoy.
An interestin "wrapping"stemsfrom Japanesepackagingand
product designand an exhibition:"Five
Waysto Wrap an Egg'iIn
2002 she visitedTokyoand Kyoto;this time it was the cloth and
paper tokensof prayertied to wooden polesoutsidethe temples
that "spoke".
The work is very visiblein its making and connectsme to the
l a n d ,i n t i m e s c a l e- s p e n d i n gh o u r sp r e p a r i n ga n d d a y so n s i t e
physicallybinding the tree and through my researchand dialogue with those who own and work the land.
The work developspreviousideascore to her practiceof the
commonplace,everydayand overlookedbeing re-presentedto
the viewer as an icon,and is illustratedin all of the works she has
chosento sharein this exhibition.
Untitled 2005
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PhilippaLawrence
V s o u È a s n o spt iú s o b í j a k op i e d n é i e j í c í vo b o r u s o u ò a s n e
textilní
tvorby na UWICv Cardiffu.
V nedévnedobè iídila P.LawrenceprojektWales@VeniceBiennale of Art. (2003)
CurrentlySeniorLectureron ContemporaryTextilePractice,
UWIC,Cardiff.
I n 2 0 0 3m a n a g e dW a l e s@V e n i c eB i e n n a l eo f A r t p r o j e c t
VzdHéní/ Education
;
1991-93 RoyalCollegeof Art, titul MA ve vytvarnemoboru
v o l n ég r a f i k a/ M A i n F i n eA r t , P r i n t m a k i n g
1987-90 Norwich Schoolof Art, obor vytvarneumèní,zakonòen
absolutoriem
/ 1 s tC l a s sH o n o u r sD e g r e ei n F i n eA r t
1 9 8 6 - 8 7 C C A TC, a m b r i d g ev, s t u p n ír o ò n í k/ F o u n d a t i o nC o u r s e
Ocenéní / Awards
2003
C r e a t i v eW a l e sA w a r d .A r t sC o u n c i o
l f Wales
2003
C a p a c i t yB u i l dG r a n t .A r t sC o u n c i lo f W a l e s
2000
I n d i v i d u aA
l r t i s t sB u r s a r yf r o m t h e A r t sC o u n c i o
l f Wales
2000
V i s i t o r sC h o i c eP u r c h a s e
P r i z ea t U n i v e r s i t o
y f Glamor9an
1998
O p p e n h e i mJ o h n - D o w n e sM e m o r i a lA w a r d
1997
S p e c i aC
l r a f t sA w a r d .A r t sC o u n c i o
l f W a l e sf o r a G i l d i n g
M a s t e rC l a s s
1993
I B MA r t i n T e c h n o l o g yA w a r d
1992
H e n r yM o o r eF o u n d a t i o nS c h o l a r s h i p
Rezidenènípobyty / Residencies
2004
[email protected] e n c yw i t h L a u r aA s h l e y
2001
Artspace,Sydney,Australia
1993
C i t eI n t e r n a t i o n adl e s A r t s ,P a r i s
1991
Artist in Residenceat GreshamsSchogl,Holt, Norfolk
Publikace a recenze / Publications and Reviews
A n i m aG 3 9 ,C a r d i f fW
, a l e s& 8 3 12 , M o n t r e a lC
, a n a d aC
. atalogue
2005
1 4 t h M o s t y nO p e n ,O r i e lM o s t y n .E x h i b i t i o nc a t a l o g u e . 2 0 0 4
Insiders,Oriel DaviesTouringExhibitionCatalogue.2004
I LoveWales,GreatDaysOut, BBCWales,February2004
Made in Wales,Object Magazine,Australia.lssue43. 2003
Explorations,
CC& AW & NationalBotanicGardensof Wales.Catalogue.2003
l m a g i n gW a l e sW
, A l .P u b l i c a t i o n
2003
Reviews,Contemporary MagazineNovember 2002
L i k eG o l d D u s t ,A n g e l R o wG a l l e r yE. x h i b i t i o nc a t a l o g u e . 2 0 0 2
Artist'sStory,Artists'sNewsletter.November 2001
Glow feature,DoubleYellow,BBC2,Wales.June 2001
TakeFlight,Oriel Myrddin.Exhibitioncatalogue.May 2001
ArtTextiles,Bury St EdmundsArt Gallery.Exhibitioncatalogue.
1997
A n g e l sa n d M e c h a n i c sE, x h i b i t i o nc a t a l o g u e1. 9 9 6
Revelation,MaidstoneGalleryExhibitioncatalogue.1996
Revelationarticle,CraftsMagazine.June 1996
WelshDrawing Biennale2, WrexhamArts Centre.Exhibitioncatalogue
WelshDrawingBiennale,WrexhamArts Centre.Exhibitioncatalogue
Vybrané vyístavy / Selected Exhibitions
2005
Anima,Montreal,Canada.Skupinovévlstavaa vfmèna /
Group show and exchange
2OO4
Eisteddfod,Newport Arts and Craftspavilion
2004
Mostyn Open 2004,Oriel Mostyn,Llandudno.Skupinové vfstavavybranfch piihléSenfchautorú / Group
s h o wf r o m o p e n s u b m i s s i o n
2003
Insiders,Oriel Davies&tour.Box art show
2003
Explorations,
NationalBotanicGardensof Wales.
Doòasnedílo na principusite-specific.
11 autorú /Temporary site-specific
work.11 artists
2002
LikeGold Dust,Angel Row Gallery,Nottingham
2002
Ffresh3, ChapterArts Centre&939,Cardiff,Skupinové
vfstava vybranfch piihléienfch autorù / Group show
from open submission
2001
Glow,GlynnVivianArt Gallery,Swansea.Samostatné
instalace.Poprvevystavenav Austrélii/ Solo installation. Firstshown in Australia
2001
Glow,Artspace,Sydney,Australia.
Tii samostatnéinstalacena téma,,Svétlo",
veli5tíautoii /Three separate
installationson "Light'iartistsfrom Wales
2000
In Our Hands,Kyoto,Japan,5th InternationalSoft
S c u l p t u r eE x h i b i t i o n
2000
PurchasePrize,Universityof Glamorgan,Pontypridd;
Préce,,Contin
u u m" získalaCenu név5tèvníkúdoprovéze n o uf i n a n ò no
í d m è n o uv e v f i i 1 7 5 0 l i b e r/ " C o n t i n u um"won the t-1,750Visitor'sChoicePrize
1999
WelshDrawingBiennale2, Putovnívfstava/ Touring
exhibition
1999
Not for Sale,Centrefor VisualArts, Cardiff;Zakózka
na instalacina principusite-specific
realizovanou
v obchodè / Commissionfor a shop based,site specific
exhibition
1998
Pistol/Dryll,Inauguralshow,Vystavau piíleZitosti
oteviení vyistavníhoprostoru 939 provozovanéhovyitvarníky/ artist led space939,Cardiff
1998
Out of Site,ChapterArts Centre,Cardiff;Samostatnf
instalaèníprojekt/ Solo projectof installations
1998
Schwiing,Skupinovévlistavakresebiniciovanémístními vftvarníky.SoucéstprojektuAardvarkArtist Supplies/ Selfinitiatedgroup-drawingshow from local
artists.Part of AardvarkArtist Supplies
1997
WelshDrawingBiennale;Putovnívfstava/Touring
exhibition
1997
Show 1,Jacob'sMarket Gallery,Cardiff
1996-98 Art Textiles,BurySt EdmundsArt Gallerya turné / and
tour. Prúiezovépiehlídka souÈasnébritsketextilní
tvorby / Major Surveyof Contemporary BritishArtTextiles
1996-98 Revelation,"Textile Artists Addressing Issues",Maidstone Art Gallerya turné vrcholícív Muzeu moderního
u m è n í a g a l e r i vi K j ó t u ,J a p o n s k o/ a n d t o u r c u l m i n a t ing at Museumof Modern Art&GalleryGallery,Kyoto,
Japan
1996
Angels& Mechanics,WatermanîfArfsCentre& Riverside
i:r;ì':ìil
Studios,London
1996
Show Girls,Projekts vyuZitímbillboardú/ Billboard
project, Sheffield
1993
RecentGraduates,London Gallery.
1993
Art in Technology,vfstava sponzorovanéspoleÈností
IBMa cena na RCA/ IBM sponsoredexhibition & prize
at the RCA
1993
Degreeshow RoyalCollegeof Art
1991
Artist in ResidenceGreshamsSchool,Norfolk
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Bound2004-05