Royal Society of Sculptors, Dora House, 108 Old Brompton Road, London SW7 3RA
NOT EVEN NOTHING CAN BE FREE OF GHOSTS
Mark Tanner Sculpture Award Show
18 May - 23 June 2018
S t a n d p o i n t
45 Coronet Street,
London N1, UK
Marking a significant development in her practice, the exhibition Not even nothing can be free of ghosts1 presents a group of new works referencing the image of water and water's metaphorical use to suggest state of mind. The artist is fascinated by the potential of things and places to hold information that is not explicit or measurable by traditional observation. Her new work aims to provoke a visceral as well as intellectual response in the viewer.
A key piece in the exhibition is Eidolon (image attached). Eidolon is a Greek word for object and applies equally to an idea and a thing. The artist found a piece of chipboard on the street in Deptford, London, interested in its distinctive shape, she explains: "I made a mirror image of the board in paper as a way of getting to know it – in making it out of another material, I’m measuring it with that material. The two sit together in a kind of Rorschach… a death moth …or are they wings?"
Such mirrorings are apparent in several works in Not even nothing can be free of ghosts. The artist is interested in dualities; and investigates a splitting between the sense one can get from being with an object or place, and its measurable qualities.
Richardson’s approach to sculpture draws out and exposes inherent properties in materials and the language of making. Using wood, veneer, video and copper for her new works, Richardson says "The material, and the way that you process the material, is integral to the spirit and meaning of the piece…it’s the content of the work”.
Coordinated by Standpoint Gallery, The Mark Tanner Sculpture Award is one of the most significant awards for emerging artists working in the field of sculpture in the UK. Offering £8,000 towards the making of new work, it rewards outstanding and innovative practice, with a particular interest in work that demonstrates a commitment to process, or sensitivity to material. Richardson was selected from 232 applicants by a panel comprising British artist Alison Wilding RA, British Sculptor Denise de Cordova, MTSA trustee Rebecca Scott and MTSA winner 2016/17 Beth Collar.
IN TIMES OF BRUTAL INSTABILITY
STAND P31, ART PROJECTS, LONDON ART FAIR, 17 - 21 JANUARY 2018
Chiara Williams Contemporary Art is proud to present the SOLO Award™ 2017 winner Frances Richardson in Art Projects at the London Art Fair 2018.
Frances Richardson was selected by Sarah Monk (Director London Art Fair), Robin Klassnik (Director Matt's Gallery), Lisa Le Feuvre (writer, curator, editor, Head of Sculpture Studies Henry Moore Institute, Leeds) and Chiara Williams (panel chair and Director Chiara Williams Contemporary Art).
'In times of brutal instability' is a new body of work by Frances Richardson, taking the simplicity of a post-it note as a starting point with which to respond to the temporary nature of the art fair and how this in turn relates to the temporality of the encounter with a sculpture or object.
The brief duration and makeshift structures that characterise the ‘art fair’ create a problematic context within which works of art can operate; this is nothing new. For an artist like Richardson, whose practice is usually site-responsive, the art fair offers her no site to visit, nothing concrete to relate to. The work created for this edition of the London Art Fair has been generated in the artist’s studio, where she has focused on the art fair as context, rather than site.
The post-it note here acts as a metaphor, through which we can experience the fleeting nature and tenuous balance of the art fair entity. After all, the post-it remains an office staple even in this digital age, but, as a consumable, flyaway, slither of paper, it is still subject to gravity and time: barely gummed to a surface, holding for a brief time words or doodles, a reminder, a note-to-self, an idea balanced on a wall. The post-it can also be read as metaphor for the market economy and instability of our financial and political climate, and the precarious position of an artist and art inside or outside of the art market.
‘Time spent making’ works of art is almost always going to be inverse to ‘time spent looking’ and/or consuming…much like a carefully prepared meal, it will either be savoured, devoured or disposed of; another metaphor by which we live, where the brutal exigencies of space and money mean that much of an artist’s work often ends up in a skip.
To counter this, Richardson spends a lot of time drawing. The activity of drawing is a rite of passage and a physical meditation on infinity and form. If the sculptures on which she works are, to her, a form of three-dimensional drawing, then it comes as no surprise that a scrawled statement on a post-it note on her studio wall should form the basis of her new sculpture.
Richardson’s new body of work ‘In times of brutal instability’ is in some ways a synthesis of the different elements of her practice to date, which all seem to neatly segue into the post-it note as a beautifully simple solution to the art fair ‘problem’.
29th April—1st July 2016
The Street Gallery,
University College Hospital,
235 Euston Road, London NW1 2BU
An exhibition celebrating the art of drawing with works from
Jessie Brennan, Ian Chamberlain, Simon Faithfull, Nina Fowler, Ann-Marie James, Olivia Kemp, Whitney McVeigh, David M Price and Frances Richardson
Collaborators 4, ROAMING ROOM
28 October 2015 - 10 December 2015
37-39 Bryanston Mews West
The Old Telephone Exchange, Kennings Way, Kennington, London, SE11 4EF
Presented across an entire floor of this vast, beautiful, early 20th century building, Collaborators 5 brings together exciting contemporary art that reflects on feeling the presence of the artist in the work. The exhibition will feature 35 artists working across a variety of mediums including performance, film, painting, drawing, collage and sculpture - from Carolyn Bunt's neon sign 'WHAT AM I DOING HERE' to Tom Wolseley’s magnificent film playing on a giant intelligent LED screen.
Carolyn Bunt Emma Stibbon Gordon Cheung Hiraki Sawa Juliette Losq Jayne Parker Lee Maelzer Stephen Bell Esme Clutterbuck Steve Joyce Stephen Williams Julie Cockburn Ioana Marinescu Toni Davey Rowena Hughes Rose Davey Chris Shaw-Hughes Rowland Hill Amikan Toren Andro Semeiko Tom Wolseley Andrew Mania Sean Griffiths Martyn Grimmer Susan Collins Tamiko O'Brien & Mark Dunhill Frances Richardson Gwyneth Fugard Greta Alfaro Ambrosine Allen John Plowman Lisa Scantlebury Rebecca Loweth
Private View | Thursday 12 April 2018 from 6pm to 8pm
Vasilis Asimakopulos, Katarzyna Depta-Garapich, Dexter Dymoke, Poppy Whatmore, Frances Richardson
London SE8 4SA
Curated by Dexter Dymoke
12 to 15 April 2018
Open Thursday to Sunday from 12noon to 5pm
103b Dalston Lane
“Once you have reached and end point you have already surpassed it”
Zeno of Elea (ca. 490–430 BC)
In 2003 I was given a double-page week diary that had perforated corners. These corners remained in my studio all mixed up in a saucer. One day, I decided to sew them together using one thread reordering, recovering, and restructuring these fragmented physical representations of time with a linear process. In the West we think of time in terms of a line, a linear infinite stretching out in front of us but often our patterns of existence and memory take different forms, we talk of cycles and déjà vu. The clock hands rotate round the same form everyday; the seas sweep back and forth pulled by the gravity of the moon; we are ever in a present that cannot be captured. These drawings, made in 2003, follow the same form of the stitching of the triangles.
“Incorporating the influences of philosophers Jean-Paul Sartre and Giorgio Agamben, Richardson’s work stands at the limit of contentless abstraction without jeopardizing the subjective elements of emotion, communication, and imagination” Cliff Lauson, VITAMIN D: New Perspectives in Drawing, Phaidon 2005.
Frances Richardson was born in Leeds and studied at Jacob Kramer Leeds College of Art, Norwich School of Art and the Royal College of Art, graduating in 2006 with MA in Fine Art Sculpture.
Her drawings have been selected for Works on Paper by Sculptors, Royal Academy of Arts, Jerwood Drawing Prize, ARTfutures, and the Drawing Room Biennial Fundraiser Exhibition and exhibited nationally and internationally; Modern Times: responding to chaos De La Warr Pavilion, Unknown Fields: Recent British Drawing, Young Gallery, Salisbury, Another Dammed Drawing Show, Frances Richardson Daniel Weinberg Gallery, LA, LONDON/BERLIN, fruehsorge contemporary drawings, Berlin, Pencil and Paper, Poppy Sebire, London, In Between the Lines, Trinity Contemporary, London, The Postcard is a Public Work of Art, X Marks the Bökship, London.
Publications in which her works feature include The Art of Drawing: British Masters and Methods since 1660 by Susan Owens, V&A, 2013, Vitamin D: New Perspectives on Contemporary Drawing, Phaidon NY 2005.
MEASURE GESTURE FORM
Portland Art Museum, USA
Modern and Contemporary Drawings from a Recent Gift
MAR 26 – JUL 31, 2016
Measure, Gesture, Form features a selection of American and European drawings—made with graphite, brush and ink, charcoal, and mixed media—dating from 1958 to 2008. Measure, Gesture, Form showcases the dynamic role of drawing over the last 50 years and honors the sensitive eye and focused interests of the donor. The exhibition will be the first opportunity for museum visitors to see these important works.
Organized by the Portland Art Museum and co-curated by Mary Weaver Chapin, Ph.D., Curator of Prints and Drawings, and Sara Krajewski, The Robert and Mercedes Eichholz Curator of Modern and Contemporary Art.
This exhibition is supported in part by the Vivian and Gordon Gilkey Endowment for Graphic Arts and the Exhibition Series Sponsors.