March Mostra 2016/ Meet the artists… Rachel Adams

Our sixth and final interview for the March Mostra on Friday 18 March is Rachel Adams. Rachel talks in the below interview about the progression of her work over the last six months of living in Rome and how excited she is about the upcoming mostra.

Rachel Adams (Sainsbury Scholar in Painting and Sculpture)

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Rachel Adams’ practice draws on a wide array of influences ranging from 1930s interior design to neolithic tools, classical sculpture and science fiction props. Her objects combine a variety of DIY methods, such as tie-dye and macramé, with contemporary techniques like laser cutting and digital printing. These works aim to highlight contradictions in both our perceived notions of history and the hierarchical structures of art and design.

Within your first three months here you created your curtain piece for the mostra which worked really well within the space of the Open Studio. Has the fact that this mostra is a shared gallery space changed the way you have approached your work?

Definitely, because I know that it is a shared gallery space my work can’t be site specific in the way that the curtain I made was. That piece was created for my studio window, so it had to be a particular scale; the window dictated a lot of the decision making. For the first mostra it was really good for me to have that singular idea, whereas this time I have been making things in the studio the same way I would work in my studio in the UK.

It took me quite a long while to work out how to make work here: you need time to be able to get used to your materials and tools. So the work I have made for this exhibition is the first time I’ve made work in the way I do at home.

For this exhibition I have made a pair of chairs. They are based on chairs that I saw at the Villa Borghese museum, the chairs that you’re not allowed to sit on. They are also influenced by a post-modern Italian design particularly the work of Nathalie Du Pasquier. Du Pasquier was one of the founding members of Memphis and she made these really incredible chairs. I have been looking at her work a lot, specifically how pattern covers her designs for furniture, and I’ve been really influenced by it. Another thing I’ve been thinking a lot about is the book fold marble; where you get a symmetrical pattern but with an irregular element. I’ve been using that idea when I create my dyed textures for these works as well.

One of the things Ross [Taylor, Abbey Scholar in Painting] has said about being at the BSR for six months is that he feels that Rome is influencing his work for this mostra in a more obvious way than it did for the last one. Do you feel you agree with this?

I think it could be, I always need hindsight to tell that sort of thing. The curtain was definitely very influenced by Rome and the marble in the churches. I was also using a new technique – it was the first piece I had managed to make using that. I think I have got more comfortable with Rome, and adding it back in to what I was doing before. With my pieces for this mostra I wanted it to be quite alien looking, referencing science fiction – that’s why I’m going to have these metal brackets on the work so they have this hard/soft mechanical/organic thing going on. I also think Rome has allowed me to use Classicism again, I had partly rejected it recently even though it was very much present in my older work.

You’ve mentioned Classicism. Do you think that that is the time period you have referenced the most?

In Rome there is this feeling of the piling up of different time periods within one space. I hope that is something that will become more apparent in my work. The way that things are layered is definitely interesting. One thing that has been really useful for me to see are all these Palazzi where you get a chair next to a sculpture, with a wall painting, and fake marble, and a gold frame. It is so over the top, which has allowed me to think that I can get away with using a mixture of techniques: tie-dye and macramé, one pattern upon another pattern. Seeing this has given me the confidence to go very bold in my art rather than feeling like I have to make things more muted or subtle.

Finally, are you looking forward to the show?

Yes definitely. What is really exciting is having been in the other artists’ studios I can see there is a very clear and intense use of colour. That’s going to come out really clearly in the show and look very exciting and intense in the gallery space.


Rachel’s work will be exhibited alongside the other five resident artists in the March Mostra; open 16.30-19.00, Saturday 19 March until Friday 25 March 2016 (closed Sunday).

Photo by Antonio Palmieri

June Mostra/Meet the Artists… Rowena Harris

Rowena Harris, Searching for a sense of balance (part 3) – detail, 2015. Concrete, 28 x 21 x 6cm.

www.rowenaharris.com

Rowena Harris (Sainsbury Scholar in Painting & Sculpture 2014–15)

I had, of course, a long time ago, stopped thinking of myself as real. Well at some point I realised that virtual and reality are all but the same. So a sense of realness or having a distinction between myself as I and my body as I, or somehow comprehending the whole of my being as some kind of distinct singular entity, has, well, gone array. I have been trying to figure this out, you know, as an abstract exercise. Figuring Rome would be a place to find my missing parts. It’s a place for the body, for the senses – in the architecture, the streets and around. I thought they might be scattered on the ground somewhere, caught in petrified cement perhaps. I’m still hopeful I will find them.

Ho smesso tempo fa, naturalmente, di pensare a me stessa come persona reale. Ad un certo punto ho capito che il virtuale e la realtà sono pressoché la stessa cosa. Quindi il bisogno di aggrapparsi a un senso di realtà, o immaginare una distinzione tra il me come io e il mio corpo come io, o provare in qualche modo a comprendere tutto il mio essere come una singola entità, si è più o meno perso. Ho continuato a provare a chiarire questo concetto, sai, come un esercizio astratto. Pensando che Roma sarebbe un posto dove trovare i pezzi mancanti. È una città per il corpo, i sensi – nell’architettura, nelle strade e nei dintorni. Ho pensato che forse questi pezzi potrebbero essere sparpagliati da qualche parte, forse incastonati nel cemento. Sono ancora dell’idea che li troverò.

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BSR Fine Arts June Mostra opens Friday 12 June 2015 18.30. Dates: 13–20 June (excluding Sunday). Hours: 16.30–19.00. Read the Press Release here or join the facebook event here.

March Mostra/Meet the Artists…Rowena Harris

Rowena work pic

Rowena Harris, Skin on skin (Outlines 1), 2014. Steel, concrete, fabric, silicon rubber and found materials, 186 x 45 x 30cm.

www.rowenaharris.com

Rowena Harris’ (Sainsbury Scholar in painting & Sculpture 2014–15) research centres upon ideas of an externalisation of the body, with a particular interest in the role of the senses in understanding the self and the world around. She considers the contemporary age to be one of a fracturing of the body and a separation of the senses from the self. Through her multi-disciplined approach she consistently employs traces of, or elements that reside close to the body that in turn provoke the viewer’s own imaginative understanding. She is also interested in the space of the exhibition and seeks to bring about an awareness of the body, considering it a performative act for the viewer.

La ricerca di Rowena Harris (Sainsbury Scholar in painting & Sculpture 2014–15) è incentrata sull’idea di esternazione del corpo, con un interesse particolare nel ruolo che i sensi hanno nel comprendere l’io e il mondo circostante. L’artista considera l’età contemporanea come un periodo in cui il corpo si frattura e i sensi si separano dall’io. Attraverso il suo approccio multidisciplinare, Rowena Harris utilizza tracce del corpo, o elementi che si trovano vicino ad esso, che a loro volta provocano nello spettatore una personale lettura immaginativa. L’artista è interessata, inoltre, allo spazio stesso della mostra e mira a portare lo spettatore ad una consapevolezza del corpo, rendendolo così un atto performativo.

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BSR Fine Arts March Mostra opens Friday 13 March 2015 18.30. Dates: 14–21 March (excluding Sunday). Hours: 16.30–19.00. Read the Press Release here or join the facebook event here.

MARCH MOSTRA 2015 POSTER

December Mostra/Meet the Artists…Rowena Harris

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R Harris, Skin on Skin (Amputations no.1) , 2014

http://www.rowenaharris.com

Rowena Harris’ (Sainsbury Scholar in Painting & Sculpture  2014 15) work is sensitive to the changing nature of perception in the digital age, whereby an image-led language is often promoted through an ubiquitous online experience. Functioning against this language her work invites the viewer to engage with shifting perceptual methods across
sculptural or ergonomic forms, sound, video as well as, consciously, image. Hands, and their potential communicative gestures hold a special importance. She pursues the correlation or disjunction between gestures that deliver thought, employed by orators such as Cicero and Quintilian, and the contemporary hand that is fractured across digital space and instead suggests a removal of thought and a disembodied experience. The blog she is running alongside her time at the BSR can be found here: http://rowenaharrisblog.tumblr.com/

Il lavoro di  Rowena Harris (Sainsbury Scholar in Painting and Sculpture 2014-15) registra la natura mutevole della percezione nell’era digitale, laddove un linguaggio basato sull’’immagine è spesso incoraggiato da un’ubiquita esperienza online. Reagendo a questo linguaggio, il suo lavoro invita l’osservatore a farsi coinvolgere nelle mutevoli modalità del percepire, attraverso forme scultoree ed ergonomiche, suoni, video e, con consapevolezza, immagini. Le mani, e i loro potenziali gesti comunicativi occupano un ruolo importante. Harris lavora sulla correlazione – o la disgiunzione – tra gesti che comunicano pensiero, usati dagli antichi oratori come Cicerone e Quintiliano, e la mano contemporanea, che si trova fratturata nello spazio digitale, e che, invece, suggerisce una separazione del gesto dal pensiero e ad un’esperienza incorporea. http://rowenaharrisblog.tumblr.com/


BSR Fine Arts December Mostra opens Friday 12 December 2014 18.30. Dates: 13 – 20 December (excluding Sunday). Hours: 16.30-19.00. Read the Press Release here or join the facebook event here.

DECEMBER MOSTRA 2014 POSTER

June Mostra/Meet the artists…Archie Franks

A Franks, "Scotch eggs", 2014, oil on canvas 35x50cm

A Franks, “Scotch eggs”, 2014, oil on canvas 35x50cm

www.re-title.com/artists/archie-franks.asp

Archie Franks‘ (Sainsbury Scholar in Painting and Sculpture 2013-14) work combines the everyday with the history of European painting.  Motifs of animals and food are a recurring constant, usually portrayed within containers of some sort, like animal cages and kitchen units. The paintings are made using thick juicy paint to embody their decadent nature.

Archie Franks (Sainsbury Scholar in Painting and Sculpture 2013-14) unisce elementi quotidiani con la storia della pittura europea.  Ricorrono motivi di animali e cibo, rappresentati all’interno di contenitori di vario tipo.  I dipinti sono realizzati con dense pennellature che ne enfatizzano la natura decadente.

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BSR Fine Arts June Mostra opens Friday 13 June 2014 18.30. Dates: 14 – 21 June (excluding Sunday). Hours: 16.30-19.00. Join the Facebook group here.

JUNE MOSTRA 2014 POSTER

 

March Mostra/ Meet the artists…Archie Franks

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A Franks, “Fishtank”, 2013, oil on board

www.re-title.com/artists/archie-franks.asp

Archie Franks‘ (Sainsbury Scholar in Painting and Sculpture 2013-14) work combines the everyday with the history of European painting.  Motifs of animals and food are a reoccurring constant, usually portrayed within containers of some sort, like animal cages and kitchen units. The paintings are made using thick juicy paint to embody their decadent nature.

Archie Franks (Sainsbury Scholar in Painting and Sculpture 2013-14) unisce elementi quotidiani con la storia della pittura europea.  Ricorrono motivi di animali e cibo, rappresentati all’interno di contenitori di vario tipo.  I dipinti sono realizzati con dense pennellature che ne enfatizzano la natura decadente.

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BSR Fine Arts March Mostra opens Friday 14 March 2014 18.30. Dates: 15 – 22 March (excluding Sunday). Hours: 16.30-19.00. Read the press release here or join the Facebook group here.

March Mostra Poster