Art in Romney Marsh, St Clement’s Church, Old Romney. September-October 2023. Curated by Susan Churchill.
A Siren’s Call
Ceramic pieces commissioned for Art in Romney Marsh, a yearly festival which places contemporary artworks in Romney Marsh’s medieval churches. Made with wild clay local to Romney Marsh, these Listening Vessels call to one another through the belly of St Clement’s Church, Old Romney, quietly making space for connection to other worlds.
Ceramic pieces commissioned for Art in Romney Marsh, a yearly festival which places contemporary artworks in Romney Marsh’s medieval churches. Made with wild clay local to Romney Marsh, these Listening Vessels call to one another through the belly of St Clement’s Church, Old Romney, quietly making space for connection to other worlds.
Limbo Project Space, Margate
5th-14th May 2023
5th-14th May 2023
In and Beyond Things
A takeover of Limbo’s project space with a collection of vessels and drawings which animate the voices in and beyond things.
A takeover of Limbo’s project space with a collection of vessels and drawings which animate the voices in and beyond things.
Mui Folk Gallery
Margate, 2023
Margate, 2023
Dwelling
A painted transformation of a small corridor tucked away in Margate, inviting mythological realms to collide with the dwelling space of the everyday.
A painted transformation of a small corridor tucked away in Margate, inviting mythological realms to collide with the dwelling space of the everyday.
Practice-led PhD research, presented at venues including Hastings Contemporary (2020), 155a Gallery with Warbling Collective (2020), Daphne Oram Gallery (2022), Drawing Room (2023)
The House Was Like Her
Some artistic research produced as part of fully funded practice-led PhD at Canterbury Christ Church University.
Some artistic research produced as part of fully funded practice-led PhD at Canterbury Christ Church University.
Public screenings include Venice Research Fellowship Symposium, Arts University Bournemouth (2021); Daphne Oram Gallery, Canterbury, UK (2022); The Primer Issue 01:Inflections (2022)
Window’s Edge
Window’s Edge explores the window as a digital-architectural threshold, using a dialogue between captured footage and animation to reflect on the role of the virtual mediator in our lives. The window becomes significant in this project not only as a framing device which contains and offers a portal to visual information intangible in person, but also as a virtual iteration of an architectural feature which frames the world beyond our walls. Drawings from Street View-facilitated journeys between Venetian frescoes are interspersed with images created looking through the windows whose rooms I inhabit. Animation forges imagined paths between each glimpse, while layered window-scapes offer up constellations of tensions in spaces between interior and external worlds. In creating moving images within these spaces, the deadened, mediated, unreachable world can be reanimated, and the edges of the ways in which we might be trapped are offered up for exploration.
Window’s Edge explores the window as a digital-architectural threshold, using a dialogue between captured footage and animation to reflect on the role of the virtual mediator in our lives. The window becomes significant in this project not only as a framing device which contains and offers a portal to visual information intangible in person, but also as a virtual iteration of an architectural feature which frames the world beyond our walls. Drawings from Street View-facilitated journeys between Venetian frescoes are interspersed with images created looking through the windows whose rooms I inhabit. Animation forges imagined paths between each glimpse, while layered window-scapes offer up constellations of tensions in spaces between interior and external worlds. In creating moving images within these spaces, the deadened, mediated, unreachable world can be reanimated, and the edges of the ways in which we might be trapped are offered up for exploration.
Wall drawing with ceramic, Daphne Oram gallery, Canterbury, 2022
Palm to Palm, the backs of hands, the backs of fingers, the thumbs, the tips
with Coral Brookes
The Tub, Hackney
2022
The Tub, Hackney
2022
Supple Octopus
Supple Octopus presented a strange world of ceramics, paintings and drawings by Coral Brookes and Rebecca Elves, created together and apart. Through the tactile and pictorial, glimpses of painted figures are situated in spaces reminiscent of real and imagined landscapes. From fleshy formations of clay, mystical imagery to sensitive mark making, Supple Octopus reveals works which respond to psychological and physical encounters with places.
Supple Octopus presented a strange world of ceramics, paintings and drawings by Coral Brookes and Rebecca Elves, created together and apart. Through the tactile and pictorial, glimpses of painted figures are situated in spaces reminiscent of real and imagined landscapes. From fleshy formations of clay, mystical imagery to sensitive mark making, Supple Octopus reveals works which respond to psychological and physical encounters with places.
Clockwise from left: Lung, oil on canvas, Rebecca Elves, 2022; Scran, biro on paper, Coral Brookes, 2022; Untitled, jesmonite, glass and etching on paper, Coral Brookes, 2021; Head, oil on canvas, Rebecca Elves, 2022; Guzzle, jesmonite, glass and etching on paper, Coral Brookes, 2021; Gum, earthenware, Coral Brookes, 2021; Squid, glazed stoneware, Rebecca Elves, 2021; Pod, glazed stoneware, Rebecca Elves, 2022; Ebb, glazed stoneware, Rebecca Elves, 2019
Lung (detail), oil on canvas, Rebecca Elves, 2022; Scran, biro on paper, Coral Brookes, 2022
Lung, oil on canvas, Rebecca Elves, 2022
Organs, glazed stoneware, Rebecca Elves, 2021; The Moth, watercolour on paper, Coral Brookes, 2022
Pod, glazed stoneware, Rebecca Elves, 2022; Hands, oil on canvas, Rebecca Elves, 2022
Ebb, glazed stoneware, Rebecca Elves, 2019
Wraith, oil and soft pastel on canvas, Rebecca Elves, 2022