Accretion - by Fiona Campbell (Britain)
Recycled and found materials: foam, sponge, twine, copper wire, fabric, leather, wool, plastic netting, sisal, hair, coir, dust, beads, plant fibre, feathers, handmade khadi paper, pva, paste, rabbit skin glue, linseed oil, pigment, steel, 100 cm (height) x 200 cm (width) x 150 cm (depth). 2018
Fiona : "Accretion’ is an accumulation of many parts. Its evolution, the labour-intensive process of its making is an important element in the work. ‘Accretion’ is an abject object.
It has connotations of the intestine, a metaphor for waste, excess and recycling, and other tentacular forms. Like pulling hair out of a plug, it is repulsive, ambiguous."
Treating line as object, Fiona's work blurs boundaries of drawing, sculpture and installation. At the root is the notion of interconnectedness throughout nature, life’s cyclical persistence and transformation. Environmental concerns about human exploitation of nature and over-consumption inform the content. Her use of recycled and found materials relates to our relationship with matter, nature, and ourselves.
Materiality and process are central to her practice; the work is hand-made and labour-intensive. Collecting and transforming materials, there is a cathartic attempt to repair.
Fiona : "Accretion’ is an accumulation of many parts. Its evolution, the labour-intensive process of its making is an important element in the work. ‘Accretion’ is an abject object.
It has connotations of the intestine, a metaphor for waste, excess and recycling, and other tentacular forms. Like pulling hair out of a plug, it is repulsive, ambiguous."
Treating line as object, Fiona's work blurs boundaries of drawing, sculpture and installation. At the root is the notion of interconnectedness throughout nature, life’s cyclical persistence and transformation. Environmental concerns about human exploitation of nature and over-consumption inform the content. Her use of recycled and found materials relates to our relationship with matter, nature, and ourselves.
Materiality and process are central to her practice; the work is hand-made and labour-intensive. Collecting and transforming materials, there is a cathartic attempt to repair.
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Accretion - by Fiona Campbell (Britain)
Recycled and found materials: foam, sponge, twine, copper wire, fabric, leather, wool, plastic netting, sisal, hair, coir, dust, beads, plant fibre, feathers, handmade khadi paper, pva, paste, rabbit skin glue, linseed oil, pigment, steel, 100 cm (height) x 200 cm (width) x 150 cm (depth). 2018
Fiona : "Accretion’ is an accumulation of many parts. Its evolution, the labour-intensive process of its making is an important element in the work. ‘Accretion’ is an abject object.
It has connotations of the intestine, a metaphor for waste, excess and recycling, and other tentacular forms. Like pulling hair out of a plug, it is repulsive, ambiguous."
Treating line as object, Fiona's work blurs boundaries of drawing, sculpture and installation. At the root is the notion of interconnectedness throughout nature, life’s cyclical persistence and transformation. Environmental concerns about human exploitation of nature and over-consumption inform the content. Her use of recycled and found materials relates to our relationship with matter, nature, and ourselves.
Materiality and process are central to her practice; the work is hand-made and labour-intensive. Collecting and transforming materials, there is a cathartic attempt to repair.
Fiona : "Accretion’ is an accumulation of many parts. Its evolution, the labour-intensive process of its making is an important element in the work. ‘Accretion’ is an abject object.
It has connotations of the intestine, a metaphor for waste, excess and recycling, and other tentacular forms. Like pulling hair out of a plug, it is repulsive, ambiguous."
Treating line as object, Fiona's work blurs boundaries of drawing, sculpture and installation. At the root is the notion of interconnectedness throughout nature, life’s cyclical persistence and transformation. Environmental concerns about human exploitation of nature and over-consumption inform the content. Her use of recycled and found materials relates to our relationship with matter, nature, and ourselves.
Materiality and process are central to her practice; the work is hand-made and labour-intensive. Collecting and transforming materials, there is a cathartic attempt to repair.
Ref:
Date:
Location:
Photographer:
Main Gallery
Accretion - by Fiona Campbell (Britain)
Recycled and found materials: foam, sponge, twine, copper wire, fabric, leather, wool, plastic netting, sisal, hair, coir, dust, beads, plant fibre, feathers, handmade khadi paper, pva, paste, rabbit skin glue, linseed oil, pigment, steel, 100 cm (height) x 200 cm (width) x 150 cm (depth). 2018
Fiona : "Accretion’ is an accumulation of many parts. Its evolution, the labour-intensive process of its making is an important element in the work. ‘Accretion’ is an abject object.
It has connotations of the intestine, a metaphor for waste, excess and recycling, and other tentacular forms. Like pulling hair out of a plug, it is repulsive, ambiguous."
Treating line as object, Fiona's work blurs boundaries of drawing, sculpture and installation. At the root is the notion of interconnectedness throughout nature, life’s cyclical persistence and transformation. Environmental concerns about human exploitation of nature and over-consumption inform the content. Her use of recycled and found materials relates to our relationship with matter, nature, and ourselves.
Materiality and process are central to her practice; the work is hand-made and labour-intensive. Collecting and transforming materials, there is a cathartic attempt to repair.
Fiona : "Accretion’ is an accumulation of many parts. Its evolution, the labour-intensive process of its making is an important element in the work. ‘Accretion’ is an abject object.
It has connotations of the intestine, a metaphor for waste, excess and recycling, and other tentacular forms. Like pulling hair out of a plug, it is repulsive, ambiguous."
Treating line as object, Fiona's work blurs boundaries of drawing, sculpture and installation. At the root is the notion of interconnectedness throughout nature, life’s cyclical persistence and transformation. Environmental concerns about human exploitation of nature and over-consumption inform the content. Her use of recycled and found materials relates to our relationship with matter, nature, and ourselves.
Materiality and process are central to her practice; the work is hand-made and labour-intensive. Collecting and transforming materials, there is a cathartic attempt to repair.
Ref:
Date:
Location:
Photographer: