The Collyer Bristow Art Award
Private View: Wednesday 20 June 18:00 – 21:00
@ The Collyer Bristow Gallery
4 Bedford Row, WC1 4DF London
I am delighted to announce that my painting ‘Climbing Wall’ and new installation ‘Map of The Cemetery’ have been selected for the Exceptional Graduate Art Award 2018, an Exceptional Exhibition regrouping the work of 15 artists selected from the London Art Schools. The Collyer Bristow Award is an initiative by Martin Caiger-Smith, Head of MA in curating at the Courtauld Gallery.
The winner of the £2000 award will be announced at the PV.
Below a selection of pictures of my installation ‘Map of The Cemetery’ in a state of development in my new studio space at Pipeline Project Space in Putney. Followed by a statement and by Climbing Wall, a large sculptural painting that I made in 2015.
This is just an indication as this will be a site specific installation and a photo will be taken upon installation for the catalogue and price list.
Lorraine Fossi’s work travels from reality to abstraction, but it also constructs a continuous bridge between the two states. Structures and details in the world become abstracted into diagrams, which can then be presented as in other materials and in other contexts.
Map of The Cemetery is a work of assemblage inspired by the artist’s walk in the London cemeteries, especially by the regrouping of gravestones that have been displaced, re-assembled and aligned against the cemetery’s fence. The paintings refer in colour, shapes and texture to the gravestones. Placed next to each other a phenomenon of sympathy occurs which absorbs the differences or allows ruptures. The alleys and drifting areas of the cemetery are translated onto the gallery walls, dislocating and relocating the viewer’s perceptions. So there is a loss of control over thought: diagrams fly over borders while the work’s assemblage may transform and be resurrected as something entirely new, expanding its form and expression in other contexts, outside the gallery space.
Climbing Wall is a painting in which ‘climbing’ is the driving force, both the painting’s object, its function and the logic of its organisation. It performs like a sculpture from a far distance and like painting from a closer view. The shaped canvas embodies the perspective lines of a wall/mountain seen from a very low position. The viewer is imagining moving, measuring, holding on to the green and pink volumes. It all seem very real and yet it is not: if we stay longer and closer to the painting, the mind wanders, attracted by implied depth – expanding its reverie within the surface, detached from any connection with matter.