Visited this great exhibition in the amazing gallery setting of York St Marys. Really interesting and thought provoking work. Particularly liked Harriet Lewars, Frustum Super Planum Cum Filia Lyrae.
Showcasing innovative and outstanding pieces, the Aesthetica Art Prize Exhibition features shortlisted works from artists in the following categories: Photographic and Digital Art; Three Dimensional Design and Sculpture; Painting and Drawing, and Video, Installation and Performance.
The medieval backdrop of York St Mary’s, York Art Gallery’s contemporary art space, provides a unique setting for the exhibition, challenging the notion of the white cube and inspiring a dialogue between the historic and the contemporary.
Ingrid Hu, Longplayer,
2013.
Ingrid Hu
Longplayer
I practise scenography on an urban scale. Drawing on my
background in theatre and large-scale multidisciplinary design, I approach each
project through research and critical thinking, with the aim of creating
idiosyncratic installations relevant to their spatial and social context. The
submitted entry, Longplayer bowl display, is a permanent structure that
functions as a display and storage of 234 singing bowls that were used in Longplayer
Live, the live version of the 1,000-year-long composition Longplayer,
originally commissioned by Artangel. The original installation is housed in the
Lighthouse at Trinity Buoy Wharf, London. Each tier of the structure,
containing 39 bowls positioned sequentially, corresponds to one of the six
concentric rings of the Longplayer Live instrument. The curved form
evokes the movement of the Longplayer Live instrument and the cycle of
the music itself.
Elke Finkenauer, Draw
a Line Somewhere, 2012.
Elke
Finkenauer
Draw a Line Somewhere
This work is a reflection upon the many facets of human
nature. No one who achieves huge success does so alone. Whereas a monument
commemorates only heroic qualities, the piece can be considered an
“anti-monument” which instead celebrates the mundane reality of the
“everyperson.” It reveals softness, fluidity, brightness and darkness, all
compressed into one whole. My creations examine different possible approaches
to drawing, through engagement with surface, line, gesture and process. In Draw
A Line Somewhere, however, I have combined the techniques of drawing with
those of soft sculpture, to produce a “soft drawing.” While the materiality of
the piece hints at 3D, it still exhibits the characteristics of drawing, with a
flat surface as a ground and line created through processes of cutting and
stitching. While the form appears organic, it is the product of meticulous
labour.
Black and White Paintings
I am mostly concerned with bringing a form
into being by exploring the material and sculptural potential of acrylic paint.
By omitting the pictorial and eschewing the traditional canvas foundation,
I engage the viewer with the purely formal
and sensual aspects of my work. I start by painting layers of acrylic paint
onto stretched plastic sheets which are then peeled off to create a support.
Illusional spacial depth is brought in by the use of black and white diagonal
bands painted randomly onto these props. Eventually the diagonal gives way to
the upright and the parallel and accrued layers of paint break out from the
flat vertical support into real space. A process of folding, creasing, cutting
and collapsing follows until a sculptural form emerges. Key references include
early 20th century abstraction, particularly the reductive, geometric language
of Russian Suprematism.
Harriet Lewars, Frustum
Super Planum Cum Filia Lyrae, 2013.
Harriet
Lewars
Frustum Super Planum Cum
Filia Lyrae
The work I present here is part of an on-going project at
the interface between art and music. Drawing on examples of interdisciplinary
artwork from the latter half of the 21st century,
my developing sculptural practice is about the possibilities of cross-disciplinary
art objects. “Frustums” are truncated cones, built in sheet steel and mounted
above horizontal planes. The metal acts as a soundboard from which many strings
(more than two hundred in the largest example) are stretched. The frequencies
of the pitched tones produced are inversely proportional to the string lengths
defined by the geometry of the structure. Acknowledging the visual appeal of
musical instruments, the work adopts a formal language that refers to
constructivist and abstract geometric sculptural practice. As instruments, they
offer a wide range of potential performance approaches, both musical and
theatrical.
Sybille Neumeyer, Song
for the Last Queen, 2013.
Sybille
Neumeyer
Song for the Last Queen
The work Song for the Last Queen refers to the
endangerment of bees, a species with a vital role in maintaining our ecosystem.
Working with beekeepers in the USA, Japan and Germany, I researched the current
problem of dying bee colonies. I collected honeycomb, wax and dead bees from a
collapsed beehive – examining each, both as evidence and as a significant and extraordinary
material. Creating a muted preparation of a perished bee colony in honey, I ask
questions about scientific practices, future perspectives and our
responsibility to our environment. I am a travelling artist and designer, whose
work investigates the relation between humans and nature as I address phenomena
found in science, culture and the natural world. During my travels, I aim to
understand global structures as well local peculiarities. Small details attract
me and become a starting point for experiments and observations.
The 2013 Aesthetica Art Prize Winners & Finalists
The 2013 Aesthetica Art Prize Winners & Finalists
Sybille Neumeyer – Video, Installation & Performance (Main Prize Winner)
Harriet Lewars – Three Dimensional Design & Sculpture (Student Prize Winner)
Amedeo Abello & Federico Morando – Photographic & Digital Art (Finalist)
Deb Covell – Painting & Drawing (Finalist)
Elke Finkenauer – Painting & Drawing (Finalist)
Inés Molina Navea – Photographic & Digital Art (Finalist)
Ingrid Hu – Three Dimensional Design & Sculpture (Finalist)
Julia Weißenberg – Video, Installation & Performance (Finalist)
Joes comments in the book as he left the gallery. I decided to tweet this to Aesthetica magazine and he was a short lived hit as his comments was retweeted by Aesthetcia magazine and York St Marys....got a couple of comments and a few favourites!
'Thanks for sharing this wonderful
picture of your 7yr old's comment! @YorkMuseumTrust - @AestheticaMag'
'@AestheticaMag when I next show can he
come and comment please! - @AGahlin'.
Lovely to get a positive response - and also discovered the wonderful work of Anna Gahlin. Am impressed that my 7 year old got a published 'review of an exhibition before me!!
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