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,
t \
f
l
I
It
l e ? Fa int
F
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
;t
t b,
. 't . : I
'"Í# ro
,
r
i r \
It
Í
o
P'P'
t\'
ú-"
I
cr
1*'s' R
#ia*
\
r :, t /,,. . \ {f iJ v/
'
f fi}
,*
-
_ t l l; '
r
r t l r
r'\ :. ó
F G . Òw _l-L J,,
ìt
lP
(2\,1 "rt II trl l]
v.f.
rt,_
-n
w F ^\
t- _ f rl
.D
ffi,$
f 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
a )
I
a |
l |l^-
S^.^r';f
-)
'i:'
l 1
"i t l
tal'
l
I
*
tp
7
I a t
)
o
C
{Ù
Tr
Bound2004-05
