ANGELA WRIGHT
- ARTIST
info: angelawright@artinst.entadsl.com
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ART INSTALLATIONS ... p1
- RIVER DARENT, WATER MEADOW, SHOREHAM, KENT
"WOOL FALL"
- ST. ANDREW CHURCH, COTTERSTOCK, PETERBOROUGH, PE8 SHH
wool + site
03 to 05
Jun
2017
Thanks
to: Martin Curtis of Curtis Wool Direct, Bingley, West Yorkshire - for the wool
Photo:
David Carr-Smith
This small village church also wanted the return of its reconditioned
bells celebrated, however, due to the church's ground-plan the installation could not
engage directly with the bells (as in Southwark Cathedral: below).
BELLS CELEBRATION
- SOUTHWARK CATHEDRAL, LONDON, SE1 9DAA
wool + site
dimensions:
length
approx 20m
Commissioned by Southwark Cathedral
09 Jan 2017
Thanks
to: Martin Curtis of Curtis Wool Direct, Bingley, West Yorkshire - for the wool
Photos:
Angela Wright / David Carr-Smith
The
"FRYST"
("FROZEN") INSTALLATION - GALLERY DEIGLAN, KAUPVANGSSTRAETI,
AKUREYRI, ICELAND
This installation was made in the Deiglan Gallery, a cultural-events hall that opens from the street into a single transverse theatre-like space. From left to right across its entry area a prosceniumed stage-like space faces a huge wedge of stair serving as a tier of audience-seating, which at its far top corner accesses the studio/living-place of the Akureyri Gil-Society's 'artist in residence'.
Angela's installation was two
physically/visually separate
but mentally related parts ("Fryst" (frozen) is their combined title) : a
staged studio that replicated (and transformed and froze) aspects of Angela's
work-place of the preceding 24 days of her residency, and a transformation of
its giant facing 'stair' into a model cascade of frozen 'water'.
In the preparatory stages of an installation I make lots of sketches and try-outs - some more developed than others, some complete works in their own right - until finally I arrive at a point where I know where I am going, with conviction."
Objects that are thoroughly embedded in our world of useful familiar things were forced to relate and participate with objects that had emerged from another part of the mind, one that is normally non-objectified. These latter objects do not evoke a familiarity of recognised use, but induce a need for justification via associational metaphors. The depicted situations have become somewhat unsettling and weird, not least because the participation of objects that ‘mean nothing obvious’ in these tableaux of the normal, is seemingly so deliberately arranged.
STAIR PICTURE -
DANIELLE SALAMON HOUSE,
LONDON
"PLOT -3 136"
- "SILENT MOVIES" GROUP EXHIBITION - Q PARK
(UNDERGROUND CAR-PARK), CAVENDISH SQUARE, LONDON, W1
Around the outer and inner edges of the circular car-park floors were precise slightly shiny black rectangular parking-plots, contrasting with the pale grey concrete and displaying their stark white numbers. A few, tucked into occasional structurally awkward spaces, were skewed parallelograms. I chose the most tense of these distorted rectangles as the base of my work.
The black 'flowers' for "Silent Movies" were made from many items of black clothing and over 1000 felt ribbons. The use of black challenged me - its heaviness and association with funerals were almost prohibitive in a year of distressing losses. It was important to relate to the location and I found the restrictions, for instance the curatorial imposition of black or white; the unalterable tube light at the front of my work which plunged its rear into darkness; the skewed shape of my chosen plot, all extremely interesting - as a result things happened within the work which I could not have foreseen.
My work is very much about placing and I worked in situ on "Plot" for nine hours without stopping - I think this intensity and exactness could be experienced by its viewers. The work provoked conversation, it was likened to Baudelaire's 'flowers of evil'; to charcoal; to a fantastic magnification of the granular surface of the car plot itself; to a grave; to a submerging depth. My partner likened my abandoned clothes to temporarily abandoned cars: without their purpose both these body-shells become anomalous.
"ONCE OUT OF NATURE"
- RURAL SITES & HARTS LANE STUDIOS, NEW CROSS GATE, LONDON, SE14
LINK: Making the work (videos: Julian Wright & Angela Wright)
STAIR
INSTALLATION AT
FLEMING COLLECTION - 13 BERKELEY ST, LONDON, W1
http://flemingcollection.com/
hand-wound wool balls, plus site
Commissioned by the Fleming Collection
6 Jan 2015 to 14 Feb 2015
"WOOL WALK"
INSTALLATION - SOUTHWARK CATHEDRAL, LONDON BRIDGE (S END), SE1 9DAA
Thanks
to: Martin Curtis of Curtis Wool Direct and Adam Curtis of Real Shetland Co - for the wool
Photos: David Carr-Smith
/ Angela Wright
"40
DAYS"
- SOUTHWARK
CATHEDRAL, LONDON BRIDGE (S END), SE1 9DAA
http://cathedral.southwark.anglican.org
Thanks
to: Martin Curtis of Curtis Wool Direct, Bingley, West Yorkshire - for the wool
Richard Collinge and Rachel Storey at Fred Lawton & Son Ltd - for blending and
spinning the wool
Photos: Angela Wright / David Carr-Smith / Julian Wright
This installation consists of large hanks of wool hanging from the apex of the
15.2m high altar reredos, covering the central gilded figures of Jesus.
It partners "another hour", an installation by Edmund de Waal in the
retro-choir beyond the reredos.
WOOL INSTALLATION (ver 6
) - WOOL MODERN EXHIBITION, ARA ART CENTRE, INSA-DONG, SOEUL, S KOREA
This fourth 'derivative' from the original Wool Installations. Based on a hank made from a blend of wools acquired from 40 different countries. The
final object was formed on site: the top level of the Ara Art Centre, Seoul, as part of an
exhibition of wool-based design products, the fifth and last such exhibition
in a world campaign by the wool industry.
"UNWANTED"
-
ST. LUKE'S CHURCH, 64 OLD SHOREHAM ROAD, BRIGHTON, SUSSEX,
BN1 5DD
Photos: David
Carr-Smith
WOOL
INSTALLATION (ver 5) -
WOOL MODERN EXHIBITION, BUND 18 GALLERY,
THE BUND, ZHONGSHAN E ROAD, SHANGHAI, CHINA
http://www.campaignforwool.org/woolmodern/
wool yarn and rope
Thanks
to: Martin Curtis of Curtis Wool Direct, Bingley, West Yorkshire - for the wool
Richard Collinge and Rachel Storey at Fred Lawton & Son - for blending and
spinning the wool
Photos: Angela Wright
& David Carr-Smith
This
third 'derivative' from the original Wool Installations. Based on a hank made from a blend of wools acquired from 40 different countries. The
final object was formed on site in the Bund 18 Gallery
"LEAF
BALL" - DULWICH PARK
(WEST ENTRY GATE LODGE), COLLEGE
ROAD, LONDON,
SE21
green-waste prunings & gardening twine
plus site
15 Oct 2012 to 15 Mar 2013
Photos: David
Carr-Smith
LINK: Making and installing the work
Two stages of the work are shown below.
"SHARED
POSSESSION" - WAREHOUSE, 55 GREAT SUFFOLK STREET,
LONDON, SE1
flour plus site
4 to 6 July 2012
WOOL
INSTALLATION (ver 4) -
WOOL MODERN EXHIBITION, PIER 2/3, HICKSON ROAD, WALSH BAY, SYDNEY,
AUSTRALIA
http://www.campaignforwool.org/woolmodern/
Thanks
to: Martin Curtis of Curtis Wool Direct, Bingley, West Yorkshire - for the wool
Richard Collinge and Rachel Storey at Fred Lawton & Son - for blending and
spinning the wool
Photos: Angela
Wright
The second 'derivative' from the previous Wool Installations. It is based
on a hank made from a blend of wools acquired from 40 different countries. The
final object was formed on site in the Pier 2/3 gallery as part of an
exhibition of wool-based design products, the third such exhibition
in a world campaign by the wool industry.
This version of the wool piece is in an extremely different location than the conventional art gallery in London - this was a dramatically 'primitive' and unadorned pier, whose vast plank floor roofs the harbour's sloshing water and whose high-set strip of windows, set over huge loading doors, admitted shafts of violent sunlight across its surface ...
I decided to turn the work's 'back' to the main central space and the strong afternoon sun, while its arms flowed into the unencumbered 'aisle' side space ...
WOOL
INSTALLATION (ver 3) - "WOOL MODERN" EXHIBITION,
LA GALLERIA, PALL MALL, LONDON,
SW1
http://www.campaignforwool.org/woolmodern/
wool yarn and rope
"189
MILES" WOOL
INSTALLATION (ver 2) - BRADFORD CATHEDRAL, 1 STOTT HILL,
BRADFORD
wool yarn and rope plus site
22 May to 26 June 2010
Thanks
to: Martin Curtis of Curtis Wool Direct, Bingley, West Yorkshire - for providing
the wool
Patrick Sweeney - technical consultant
Photos: David
Carr-Smith / Angela Wright
I visited the Cathedral and was immediately drawn to the Peace Chapel, it had a special feeling for me, a sense of an island - a safe place. I wanted to add to this Chapel a work that had calmness, stillness, serenity and beauty, combined with a sense of Bradford's history. The wool's softness, warmth and smell spans lifetimes from infancy to old age. In the Chapel is Charles Kempe's Crucifixion window - it became important that the centrally suspended wool hank would also reveal like a portal its central image of a crucified Christ.
..
"189
MILES" WOOL
INSTALLATION (ver 1) - "WALLSPACE", ALL HALLOWS CHURCH, 83 LONDON WALL,
LONDON, EC2
http://www.wallspace.org.uk/about.html
wool yarn and rope plus site
dimensions
(approx): h: 7m / w: 15m
18 Mar to 13 Apr 2009
Thanks
to: Martin Curtis of Curtis Wool Direct, Bingley, West Yorkshire - for giving
the wool
Patrick Sweeney and Clive Burton - technical consultants
Photos: Julian Wright
/ David Carr-Smith
LINK: Making the work
A huge quantity of wool was given me by two generous Yorkshire sponsors: Martin Curtis and Andrew Marshall. Martin Curtis told me the
average sheep produces around 2 kilos, which when washed loses a third of its weight in grease and dirt. I was thus given - in washed and spun wool the approximate equivalent of 55 fleeces!
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"PAPER WINDOWS" - A GROUP EXHIBITION, INNOVATION GALLERY, CENTRAL SAINT MARTINS INNOVATION, PROCTER STREET, LONDON, WC1
paper with pencil and scalpel drawing
9 to 18 Dec 2008
Photos: David Carr-Smith
Half the gallery is windows - so demanding of wall that they limited hanging to small images on the room's cluttered inner sides. Seventeen window panels bracket the space - a procession of fourteen 3-row panels whose inner ends slow to a stop via panels of 2.
After the cement-blinded windows of the "Powerhouse" exterior, these gridded walls of translucent glass presented another type and degree of enclosure and obscurification. The big pool of dark floor offered a space to reflect them. I drew the 17 window-grids with pencil and scalpel at 1:1 scale on artists' paper and layered them on the floor like a fallen homage - only their leaved edges showed their number. The twin 2-row "misfit" grids were flung 'randomly' across the "standard" 3-row stack. The excised paper 'panes' had curled themselves into tubes which huddled near the reclining grids, pining for rôle and positions.
..
."POWER HOUSE" - INSTALLATION ON STREET FACADES, R.K.BURT ARTISTS' PAPER WAREHOUSE, UNION STREET, LONDON, SE1
site plus cable-hung 'blinds' of PVC-polyester with "Grafisoft"
adhesive-vinal drawings
dimensions:
x3 blinds = h: 6.4m / w: 2m // x1 blind = h: 6.4m / w: 2.4m // x1 blind = h:
3.8m / w: 4.58m
Thanks to:
R.K. Burt & Co
Ltd., Wholesale Paper Merchants, 57 Union Street, London SE1 1SG - for loan of
building facades
Siddons Van & Car Hire, 191D Perry Vale, SE23 - for logistical assistance
Patrick Sweeney - technical consultant
Photos: David
Carr-Smith / Gary Black
LINK: Making and installing the work
I chose to install blinds for these blind windows. These blinds relate to several aspects of the building, most importantly they have an energy which will transform it. The 5 panels are a rhythmical sequence: 4 tall ones on the main façade - the first wider, the next 3 a repeated beat; then around the corner facing east, the 5th - squarer, placed high up, ‘floating’ - provides a full stop. The blinds connect with the building’s past through colours associated with electricity, live wires and cables - the sub station previously humming inside is evoked on the outside. They also express an affinity with the ghosts of its window mullions. Finally, in their role as drawings they refer to the building’s present use by artists’ paper merchants.
The building is situated close to several derelict houses encased in scaffolding, despite this there is a feeling of a village at this end of Union Street - the road splits in two as it approaches Southwark Bridge Road and the remaining island has a large spreading plane tree, café, outdoor seating, while overhead the trains trundle past. I wanted to add something dynamic to this end of the street, something that speaks of summertime!
WORKS 1 | WORKS - LIST |
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