Bloomberg New Contemporaries 2022

Bloomberg New Contemporaries 2022

CHARLOTTE EDEY HAS THREE WORKS SELECTED FOR NEW CONTEMPORARIES

Humber Street Gallery & Ferens Art Gallery, Hull 22 September – 27 November 2022


Bloomberg New Contemporaries 2022 is now open. This year’s presentation includes 47 artists – selected over a two-stage process – by internationally renowned artists James Richards, Veronica Ryan and Zadie Xa from an open call submission of over 1,500 entries. Launching in Hull across both Humber Street Gallery and Ferens Art Gallery, the 2022 exhibition demonstrates a rich diversity of voices and approaches to making. The touring exhibition continues at South London Gallery from 9 December 2022 

Work details:

Spider Lashes, 2021
Hand-embroidered silk and freshwater pearl on woven jacquard in walnut 
58x68cm

Velveteen Gasp, 2021
Hand-embroidered silk on woven jacquard in walnut 
58x68cm

Installation image, Bloomberg New Contemporaries 2022, Ferens Art Gallery and Humber Street Gallery. Photography Jules Lister. Courtesy New Contemporaries. 


Tongue Tied | Hand-embroidered Tapestry

Tongue Tied

HAND EMBROIDERED TAPESTRY

On view at ‘Stillwater’ solo exhibition at Robert’s, Glasgow from Saturday 9 July – Saturday 27 August

Work Details:
Tongue Tied
2022
70cm x 70cm 
Woven jacquard tapestry with silk hand-embroidery and freshwater pearl in sapele double frame with hinge

Stillwater explores the facets of the mirror. Still bodies of water are presented as the primordial mirror, allowing water as a mode of reflection to speculate on the fluidity of form through a hydrofeminist lensThe mirror’s significance as a magic object, a portal of apparent depths, raises questions of authenticity and illusion, an exploration of the dual nature of the interior and external self. The exhibition’s methods of display acknowledge the looking glass’s association with beauty and vanity, with glamour explored via glamour’s etymological origins as a cast enchantment. 
 
The central works for the show are two jacquard tapestry diptychs that depict anthropomorphic bodies of water. The moon is presented as night’s mirror, whose source of power is derived from the light of another body. The textile works are accompanied by a series of soft pastel works on paper and three wooden sculptural works created with a pyrographic etching process. The material manipulations in the show are linear, with satin-stich embroidery in silk and hatched lines created by burning into wood. Both mediums mirror each other as ritualistic processes that are alternately symbolic of reparation and destruction. 
 
The exhibition is accompanied by a text from Daisy Lafarge

 


Ginny on Frederick at Art Athina

Ginny on Frederick at Art Athina 

charlotte edey and jack o’brien

Zappeion Mansion, Athens 105 57
 

For Art Athina, Charlotte Edey presents a new series of drawings in found wooden frames from the Athens area. The six wooden frames were collected over a period of two years from The Scavengers’ Flea Market in Eleonas and the market at Avissinias Square. Edey’s drawings re-contextualise these found objects by presenting them as windows, a transparent threshold between interior and exterior worlds. Edey explores how ritualistic methods of display from altarpieces to shrines can therefore function as portals of identity. The works on paper carry motifs that are embedded with symbolism to become windows to imagined landscapes. 

Please email mail@ginnyonfrederick for more information. Photography by Konstantinos Andrikoulas.
 

Work Details:

Seeping and Sill, 2022
Soft pastel on 350gsm sanded paper in found and carved frame
26cm x 26cm x 4.5cm

Pearlescent Gasp, 2022
Soft pastel on 350gsm sanded paper in found and carved frame
23 x 29cm

 
Smoke Veils, 2022
Soft pastel on 350gsm sanded paper in found and carved frame
38cm x 51cm
 
New Suns, 2022
Soft pastel on 350gsm sanded paper in found and carved frame
29cm x 39 cm

 
As I Unfurl, 2022
Soft pastel on 350gsm sanded paper in found and carved frame
31.5 x 41cm
 
Wisps, 2022
Soft pastel on 350gsm sanded paper in found and carved frame
31.5cm x 41cm
 

Open | Soft Pastel on Paper

OPEN

SOFT PASTEL ON PAPER

On view at ‘New Mythologies II’  exhibition at Huxley Parlour, London from 18 August – 17 September 2022

Work Details:
Open
2022
Soft pastel on 350gsm sanded paper in handmade sapele artist frame 
59cm x 74cm

‘Charlotte Edey’s works – Open, Close, 2022 use bodily forms to consider the ancient and alluring fear of seduction. The pieces are inspired by the Venus flytrap, and in particular its namesake, Aphrodite. The open and closed jaws which circle Edey’s central drawings lend the works a primal paranoia regarding consumption, and the destructive power of sensual femininity. Calling to mind Aphrodite’s trials under Hephaestus, Edey’s plush cushions and hand-held mirrors weaponise instruments of femininity’

Text by Lydia Earthy

Huxley-Parlour is pleased to present New Mythologies II, a group show of eleven artists working across painting, drawing, and mixed-media. The works in the exhibition all present responses to a fraught, contemporary climate: one which places increasing weight in the values of logic, capital, and an exponentially abstracted metaverse. Drawing on medieval, classical, magical realist and in places entirely abstract sources – New Mythologies II traces a return to dream time and logic through recourse to symbolism, allegory, and contemporary detail.

Jeanine Brito, Charlotte Edey, Molly Greene, Mary Herbert, Grace Lee, Natalia González Martín, Grace Mattingly, Tristan Pigott, Alicia Reyes McNamara, Jakob Rowlinson, Salomé Wu


Close | Soft Pastel on Paper

CLOSE

SOFT PASTEL ON PAPER

On view at ‘New Mythologies II’  exhibition at Huxley Parlour, London from 18 August – 17 September 2022

Work Details:
Close
2022
Soft pastel on 350gsm sanded paper in handmade sapele artist frame 
44cm x 65cm

‘Charlotte Edey’s works – Open, Close, 2022 use bodily forms to consider the ancient and alluring fear of seduction. The pieces are inspired by the Venus flytrap, and in particular its namesake, Aphrodite. The open and closed jaws which circle Edey’s central drawings lend the works a primal paranoia regarding consumption, and the destructive power of sensual femininity. Calling to mind Aphrodite’s trials under Hephaestus, Edey’s plush cushions and hand-held mirrors weaponise instruments of femininity’

Text by Lydia Earthy

Huxley-Parlour is pleased to present New Mythologies II, a group show of eleven artists working across painting, drawing, and mixed-media. The works in the exhibition all present responses to a fraught, contemporary climate: one which places increasing weight in the values of logic, capital, and an exponentially abstracted metaverse. Drawing on medieval, classical, magical realist and in places entirely abstract sources – New Mythologies II traces a return to dream time and logic through recourse to symbolism, allegory, and contemporary detail.

Jeanine Brito, Charlotte Edey, Molly Greene, Mary Herbert, Grace Lee, Natalia González Martín, Grace Mattingly, Tristan Pigott, Alicia Reyes McNamara, Jakob Rowlinson, Salomé Wu


Self Portrait | Burnt Sapele And Organza

Self Portrait

Burnt Sapele and Organza

On view at ‘Stillwater’ solo exhibition at Robert’s, Glasgow from Saturday 9 July – Saturday 27 August

Work Details:
Self Portrait
2022
Burnt etching on sapele with organza
27cm x 42cm

For catalogue requests and enquiries, please contact:
Freya Fullerton
ff@roberts.gallery
 
robert’s
1/2, 31 Windsor Terrace
Glasgow, G20 7QW

Seeping and Still | Soft Pastel on Paper

Seeping and Still

SOFT PASTEL ON PAPER

Ginny on Frederick at Art Athina, September 2022
Zappeion Mansion, Athens 105 57
 

For Art Athina, Charlotte Edey presents a new series of drawings in found wooden frames from the Athens area. The six wooden frames were collected over a period of two years from The Scavengers’ Flea Market in Eleonas and the market at Avissinias Square. Edey’s drawings re-contextualise these found objects by presenting them as windows, a transparent threshold between interior and exterior worlds. Edey explores how ritualistic methods of display from altarpieces to shrines can therefore function as portals of identity. The works on paper carry motifs that are embedded with symbolism to become windows to imagined landscapes. 

Please email mail@ginnyonfrederick for more information. Photography by Konstantinos Andrikoulas.
 

Work Details:
Seeping and Sill, 2022
Soft pastel on 350gsm sanded paper in found and carved frame
26cm x 26cm x 4.5cm


Pearlescent Gasp | Soft Pastel On Paper

Pearlescent Gasp

SOFT PASTEL ON PAPER

Ginny on Frederick at Art Athina, September 2022
Zappeion Mansion, Athens 105 57
 

For Art Athina, Charlotte Edey presents a new series of drawings in found wooden frames from the Athens area. The six wooden frames were collected over a period of two years from The Scavengers’ Flea Market in Eleonas and the market at Avissinias Square. Edey’s drawings re-contextualise these found objects by presenting them as windows, a transparent threshold between interior and exterior worlds. Edey explores how ritualistic methods of display from altarpieces to shrines can therefore function as portals of identity. The works on paper carry motifs that are embedded with symbolism to become windows to imagined landscapes. 

Please email mail@ginnyonfrederick for more information. Photography by Konstantinos Andrikoulas.
 

Work Details:
Pearlescent Gasp, 2022
Soft pastel on 350gsm sanded paper in found and carved frame
23 x 29cm

 

Shiver | Soft Pastel On Suede

SHIVER

SOFT PASTEL ON SUEDE

On view at ‘Brave New World’ exhibition at 6 Roach Rd, E3 2PA from Friday 10th June – Saturday 30th June

Work Details:
Shiver
2022
30cm x 60cm
Soft pastel on suede in found oak frame with beeswax candle


Velveteen Gasp | Hand-embroidered Tapestry

Velveteen Gasp

HAND EMBROIDERED TAPESTRY

Bloomberg New Contemporaries 2022
Spider Lashes and Velveteen Gasp are on view at Humber Street Gallery 23 September – 27 November 2022.

Selected by James Richards, Veronica Ryan and Zadie Xa. Bloomberg New Contemporaries 2022 opens across the Humber Street Gallery and Ferens Art Gallery locations in Hull from 23 September to 27 November 2022. The touring exhibition continues at South London Gallery from 9 December 2022 to 19 March 2023.

The work draws upon the idea of the ‘bottle’ or container as hero, as detailed in The Carrier Bag Theory of Fiction by Ursula K Le Guin. In the essay, Le Guin presents a theory of human evolution drawn from Elizabeth Fisher’s cult feminist text Woman’s Creation: Sexual Evolution and the Shaping of Society that the first human tool was not a weapon but a receptacle, something that made it possible to collect more than could be held in the hands. Taking the form of a teardrop, the works foreground the experience of the body as vessel through collected fragments; hands, hair, the mouth, and the eye. Drawn from a passage in book five of Ovid’s Metamorphoses, considering the relationship between fluidity and transformation. Between folds of satin, static curls becomes tender, dissolving into ribbons; ‘fading away, they vanished into slim streams’.

Work Details:
Velveteen Gasp
2021
58x68x4cm framed
Silk hand-embroidery on woven jacquard in walnut


Spider Lashes | Hand-embroidered Tapestry

Spider Lashes

HAND EMBROIDERED TAPESTRY

Bloomberg New Contemporaries 2022
Spider Lashes and Velveteen Gasp are on view at Humber Street Gallery 23 September – 27 November 2022.

Selected by James Richards, Veronica Ryan and Zadie Xa. Bloomberg New Contemporaries 2022 opens across the Humber Street Gallery and Ferens Art Gallery locations in Hull from 23 September to 27 November 2022. The touring exhibition continues at South London Gallery from 9 December 2022 to 19 March 2023.

The work draws upon the idea of the ‘bottle’ or container as hero, as detailed in The Carrier Bag Theory of Fiction by Ursula K Le Guin. In the essay, Le Guin presents a theory of human evolution drawn from Elizabeth Fisher’s cult feminist text Woman’s Creation: Sexual Evolution and the Shaping of Society that the first human tool was not a weapon but a receptacle, something that made it possible to collect more than could be held in the hands. Taking the form of a teardrop, the works foreground the experience of the body as vessel through collected fragments; hands, hair, the mouth, and the eye. Drawn from a passage in book five of Ovid’s Metamorphoses, considering the relationship between fluidity and transformation. Between folds of satin, static curls becomes tender, dissolving into ribbons; ‘fading away, they vanished into slim streams’.

Work Details:
Spider Lashes
2021
58x68x4cm framed
Silk hand-embroidery and freshwater pearl on woven jacquard in walnut

 


Stillwater | Solo Exhibition at Robert’s, Glasgow

Stillwater

solo exhibition

Robert’s, Glasgow from Saturday 9 July – Saturday 27 August

Stillwater explores the facets of the mirror. Still bodies of water are presented as the primordial mirror, allowing water as a mode of reflection to speculate on the fluidity of form through a hydrofeminist lensThe mirror’s significance as a magic object, a portal of apparent depths, raises questions of authenticity and illusion, an exploration of the dual nature of the interior and external self. The exhibition’s methods of display acknowledge the looking glass’s association with beauty and vanity, with glamour explored via glamour’s etymological origins as a cast enchantment. 
 
The central works for the show are two jacquard tapestry diptychs that depict anthropomorphic bodies of water. The moon is presented as night’s mirror, whose source of power is derived from the light of another body. The textile works are accompanied by a series of soft pastel works on paper and three wooden sculptural works created with a pyrographic etching process. The material manipulations in the show are linear, with satin-stich embroidery in silk and hatched lines created by burning into wood. Both mediums mirror each other as ritualistic processes that are alternately symbolic of reparation and destruction. 
 
The exhibition is accompanied by a text from Daisy Lafarge
 
For catalogue requests and enquiries, please contact:
Freya Fullerton
ff@roberts.gallery
 
robert’s
1/2, 31 Windsor Terrace
Glasgow, G20 7QW

Altar | Hand-embroidered Tapestry

Altar

Hand Embroidered Tapestry

Created at Palazzo Monti x The Great Women Artists residency

An exploration of form and balance. Install view from the Palazzo Monti x The Great Women Artists exhibition curated by Katy Hessel, featuring work by residents Sara Anstis, Somaya Critchlow, Charlotte Edey and Ella Walker. 

Work Details:
Altar
2019
24 x 47cm
Hand-embroidered silk and freshwater pearls on woven jacquard in walnut

Exhibited at at ‘From Cellar to Garret’ inaugural exhibition at South Parade Gallery, London 2021 


Thinking Of You | Soft Pastel On Paper

Thinking Of You

SOFT PASTEL ON SANDED PAPER

On view in ‘Stillwater’ solo exhibition at Robert’s Gallery, Glasgow
Show runs from 9th July – 27th August

robert’s
1/2, 31 Windsor Terrace
Glasgow, G20 7QW

Stillwater explores the facets of the mirror. Still bodies of water are presented as the primordial mirror, allowing water as a mode of reflection to speculate on the fluidity of form through a hydrofeminist lensThe mirror’s significance as a magic object, a portal of apparent depths, raises questions of authenticity and illusion, an exploration of the dual nature of the interior and external self. The exhibition’s methods of display acknowledge the looking glass’s association with beauty and vanity, with glamour explored via glamour’s etymological origins as a cast enchantment. 
 
The central works for the show are two jacquard tapestry diptychs that depict anthropomorphic bodies of water. The moon is presented as night’s mirror, whose source of power is derived from the light of another body. The textile works are accompanied by a series of soft pastel works on paper and three wooden sculptural works created with a pyrographic etching process. The material manipulations in the show are linear, with satin-stich embroidery in silk and hatched lines created by burning into wood. Both mediums mirror each other as ritualistic processes that are alternately symbolic of reparation and destruction. 

Work details:
Thinking of you
Soft pastel on sanded paper
50cm x 65cm

 

Wisps | Soft Pastel on Paper

Wisps

SOFT PASTEL ON PAPER

Ginny on Frederick at Art Athina, September 2022
Zappeion Mansion, Athens 105 57
 

For Art Athina, Charlotte Edey presents a new series of drawings in found wooden frames from the Athens area. The six wooden frames were collected over a period of two years from The Scavengers’ Flea Market in Eleonas and the market at Avissinias Square. Edey’s drawings re-contextualise these found objects by presenting them as windows, a transparent threshold between interior and exterior worlds. Edey explores how ritualistic methods of display from altarpieces to shrines can therefore function as portals of identity. The works on paper carry motifs that are embedded with symbolism to become windows to imagined landscapes. 

Please email mail@ginnyonfrederick for more information. Photography by Konstantinos Andrikoulas.
 

Work Details:
Wisps, 2022
Soft pastel on 350gsm sanded paper in found and carved frame
31.5cm x 41cm


Dew at Dawn | Hand-Embroidered Tapestry

Dew at Dawn

HAND EMBROIDERED TAPESTRY dIPTYCH

On view at ‘Stillwater’ solo exhibition at Robert’s, Glasgow from Saturday 9 July – Saturday 27 August

Work Details:
Dew at Dawn
2022
37cm x 35cm x 2.5cm per panel
Woven jacquard tapestry with silk hand embroidery, freshwater pearl and glass beads in yakisugi ash frame

Stillwater explores the facets of the mirror. Still bodies of water are presented as the primordial mirror, allowing water as a mode of reflection to speculate on the fluidity of form through a hydrofeminist lensThe mirror’s significance as a magic object, a portal of apparent depths, raises questions of authenticity and illusion, an exploration of the dual nature of the interior and external self. The exhibition’s methods of display acknowledge the looking glass’s association with beauty and vanity, with glamour explored via glamour’s etymological origins as a cast enchantment. 

 
The central works for the show are two jacquard tapestry diptychs that depict anthropomorphic bodies of water. The moon is presented as night’s mirror, whose source of power is derived from the light of another body. The textile works are accompanied by a series of soft pastel works on paper and three wooden sculptural works created with a pyrographic etching process. The material manipulations in the show are linear, with satin-stich embroidery in silk and hatched lines created by burning into wood. Both mediums mirror each other as ritualistic processes that are alternately symbolic of reparation and destruction. 
 
The exhibition is accompanied by a text from Daisy Lafarge

 

 

The New Yorker | The Unbearable Lightness of Being

The Unbearable Lightness of Being

THE NEW YORKER EDITORIAL ILLUSTRATION

Editorial illustration to accompany the republishing of an excerpt from The Unbearable Lightness of Being by Milan Kundera, originally printed in the magazine in March, 1984.

The soft pastel drawing explores the duality of themes in the text; self and other, body and soul, seeing and being seen. The mirror is suggestive of weight; ‘the body as a cage’, observing through the curtain. The half-seen silhouette is a reference to lightness, to the something ‘that looked, listened, feared, thought and marvelled; that something, that remainder after the body had been accounted for, was the soul’. 

Read the full article here.


Smoke Veils | Soft Pastel On Paper

Smoke Veils

SOFT PASTEL ON PAPER

Ginny on Frederick at Art Athina, September 2022
Zappeion Mansion, Athens 105 57
 

For Art Athina, Charlotte Edey presents a new series of drawings in found wooden frames from the Athens area. The six wooden frames were collected over a period of two years from The Scavengers’ Flea Market in Eleonas and the market at Avissinias Square. Edey’s drawings re-contextualise these found objects by presenting them as windows, a transparent threshold between interior and exterior worlds. Edey explores how ritualistic methods of display from altarpieces to shrines can therefore function as portals of identity. The works on paper carry motifs that are embedded with symbolism to become windows to imagined landscapes. 

Please email mail@ginnyonfrederick for more information. Photography by Konstantinos Andrikoulas.
 

Work Details:
Smoke Veils, 2022
Soft pastel on 350gsm sanded paper in found and carved frame
38cm x 51cm


Watching You Without Me | Soft Pastel On Paper

Watching You Without Me

SOFT PASTEL ON SANDED PAPER

On view at ‘Stillwater’ solo exhibition at robert’s, 1/2, 31 Windsor Terrace, Glasgow, G20 7QW
Saturday 9 July – Saturday 27 August

Work Details:
Watching You Without Me
2022
Soft pastel and pencil diptych on 350gm sanded paper in hand-carved pine double-frame with hinge
41cm x 44cm

The mirror’s significance as a magic object, a portal of apparent depths, raises questions of authenticity and illusion. The exhibition’s methods of display acknowledge the looking glass’s association with beauty and vanity, with glamour explored via glamour’s etymological origins as a cast enchantment. 
 
For catalogue requests and enquiries, please contact:
Freya Fullerton
ff@roberts.gallery

robert’s
1/2, 31 Windsor Terrace
Glasgow, G20 7QW


Reactions of Others | Soft Pastel on Paper

Reactions of Others

SOFT PASTEL ON PAPER

On view at ‘Stillwater’ solo exhibition at Robert’s, Glasgow from Saturday 9 July – Saturday 27 August

Work Details:
Reactions of Others
2022
Soft pastel on 350gsm sanded paper 
58cm x 73cm 

Stillwater explores the facets of the mirror. Still bodies of water are presented as the primordial mirror, allowing water as a mode of reflection to speculate on the fluidity of form through a hydrofeminist lensThe mirror’s significance as a magic object, a portal of apparent depths, raises questions of authenticity and illusion, an exploration of the dual nature of the interior and external self. The exhibition’s methods of display acknowledge the looking glass’s association with beauty and vanity, with glamour explored via glamour’s etymological origins as a cast enchantment. 
 
The central works for the show are two jacquard tapestry diptychs that depict anthropomorphic bodies of water. The moon is presented as night’s mirror, whose source of power is derived from the light of another body. The textile works are accompanied by a series of soft pastel works on paper and three wooden sculptural works created with a pyrographic etching process. The material manipulations in the show are linear, with satin-stich embroidery in silk and hatched lines created by burning into wood. Both mediums mirror each other as ritualistic processes that are alternately symbolic of reparation and destruction. 
 
The exhibition is accompanied by a text from Daisy Lafarge

Almost | Hand-embroidered Tapestry

Almost

Hand Embroidered Tapestry

Created for ARTISTS SUPPORT: London Edition

Almost, 2021, is an exploration of the limitations of language, of what can be lost in the attempt to articulate or name something that is felt. The threshold between the said and the unsaid. Framed in walnut, Almost is the artist’s first circular tapestry and is embroidered with nine freshwater pearls. This work is donated to support St Mungo’s charity.

Work Details:
Almost
2021
33 x 33 x 3 cm
Hand-embroidered silk and freshwater pearls on woven jacquard in walnut

ARTISTS SUPPORT London is supported by Rebecca Ackroyd, Michael Craig-Martin, Charlotte Edey, Chantal Joffe, Anish Kapoor, Sola Olulode, Grayson Perry, Juergen Teller & Rose Wylie. ARTISTS SUPPORT is a non-profit initiative powered by artists. Each artist donates a work to a local charity of their choosing and ARTISTS SUPPORT find a buyer, ensuring 100% of the proceeds of its sale go directly to the charity the artist has selected.

Read more:
ARTISTS SUPPORT, Financial Times, St Mungo’s


Freshwater | Hand-embroidered Tapestry

Freshwater

Hand Embroidered Tapestry

Created for ‘Subversive Stitch’ exhibition at TJ Boulting

Freshwater is a mirage of touch, exploring reflection through patterns of increased self awareness.

Subversive Stitch examines the legacy of embroidery with works from Amanda Ross-Ho, Bea Bonafini, Celia Pym, Gal Leshem, HelenA Pritchard, Judith Scott, James Merry, Lilah Fowler, Yemi Awosile, Yelena Popova, Marianne Thoermer and Hrafnhildur Arnardottir.

 

Work Details:
Freshwater
2019
16cm x 21cm x 2cm 
Hand embroidered cotton on woven jacquard in walnut


Piercing These Seams | Hand-embroidered Tapestry

Piercing These Seams

HAND EMBROIDERED TAPESTRY

On view at ‘Pyschic Anemone’ at Cob Gallery, November 18 2021 – January 22, 2022

Work Details:
Piercing These Seams
2021
58x68x4cm framed
Silk hand-embroidery on woven jacquard in walnut

The work draws upon the idea of the ‘bottle’ or container as hero, as detailed in The Carrier Bag Theory of Fiction by Ursula K Le Guin. In the essay, Le Guin presents a theory of human evolution drawn from Elizabeth Fisher’s cult feminist text Woman’s Creation: Sexual Evolution and the Shaping of Society that the first human tool was not a weapon but a receptacle, something that made it possible to collect more than could be held in the hands. Taking the form of a teardrop, the works foreground the experience of the body as vessel through collected fragments; hands, hair, the mouth, and the eye.

Cob Gallery is proud to present Psychic Anemone, a group exhibition of mixed-media work by Bea Bonafini, Charlotte Edey and Zoe Williams. These artists are brought to comparison for their multilayered artistic approaches to the transcendental image.  Through their powerfully individual languages of symbolism Bonafini, Edey and Williams address similar themes which include the body politic, ritual, magic, gender, mythology, spirituality, eroticism and sensuality.

The works in Psychic Anemone are anchored to a liquidity of form and as such, can be explored through an implication of ‘hydrofeminism’ – a mode of posthuman feminist phenomenology that understands our bodies as fundamentally a part of the natural world, not separate from it or bearing any privileged relation to it.

See more here.


As I Unfurl | Soft Pastel on Paper

As I Unfurl

SOFT PASTEL ON PAPER

Ginny on Frederick at Art Athina, September 2022
Zappeion Mansion, Athens 105 57
 

For Art Athina, Charlotte Edey presents a new series of drawings in found wooden frames from the Athens area. The six wooden frames were collected over a period of two years from The Scavengers’ Flea Market in Eleonas and the market at Avissinias Square. Edey’s drawings re-contextualise these found objects by presenting them as windows, a transparent threshold between interior and exterior worlds. Edey explores how ritualistic methods of display from altarpieces to shrines can therefore function as portals of identity. The works on paper carry motifs that are embedded with symbolism to become windows to imagined landscapes. 

Please email mail@ginnyonfrederick for more information. Photography by Konstantinos Andrikoulas.
 

Work Details:
As I Unfurl, 2022
Soft pastel on 350gsm sanded paper in found and carved frame
31.5 x 41cm


New Suns | Soft Pastel On Paper

New Suns

SOFT PASTEL ON PAPER

Ginny on Frederick at Art Athina, September 2022
Zappeion Mansion, Athens 105 57
 

For Art Athina, Charlotte Edey presents a new series of drawings in found wooden frames from the Athens area. The six wooden frames were collected over a period of two years from The Scavengers’ Flea Market in Eleonas and the market at Avissinias Square. Edey’s drawings re-contextualise these found objects by presenting them as windows, a transparent threshold between interior and exterior worlds. Edey explores how ritualistic methods of display from altarpieces to shrines can therefore function as portals of identity. The works on paper carry motifs that are embedded with symbolism to become windows to imagined landscapes. 

Please email mail@ginnyonfrederick for more information. Photography by Konstantinos Andrikoulas.
 

Work Details:
New Suns, 2022
Soft pastel on 350gsm sanded paper in found and carved frame
29cm x 39 cm


Moon Over Limanakia | Soft Pastel On Paper

Moon Over Limanakia

SOFT PASTEL ON SANDED PAPER

On view at ‘The Drawing Year: Open Studios’ exhibition at Space Studios Mare Street, London Wednesday 6 April – Tuesday 19 April

Work Details:
Moon Over Limanakia
2022
25cm x 35cm 
Soft pastel on 350gsm sanded paper in found frame


Hayfever | Hand-embroidered Tapestry

Hayfever

HAND EMBROIDERED TAPESTRY DIPTYCH

On view at ‘The Drawing Year: Open Studios’ exhibition at Space Studios Mare Street, London Wednesday 6 April – Tuesday 19 April

Work Details:
Hayfever
2022
37cm x 35cm x 2.5cm per panel
Silk hand-embroidery and freshwater pearl on woven jacquard in yakisugi ash


Like Afterthoughts | Soft Pastel On Paper

Like Afterthoughts

SOFT PASTEL ON SANDED PAPER

On view at ‘Best of The Drawing Year’ end of year exhibition at Christies, London Friday 25 March – Thursday 31 March

Work Details:
Like Afterthoughts
2022
50cm x 65cm 
Soft pastel on 350gm sanded paper

This series of soft pastel drawings explores the relationship between fabric and skin forged by the needle. Drawing inspiration from the sculptural shapes temporarily carved during the embroidery process, anthropomorphic forms reveal themselves from folds of cloth. Considering the parallels between material manipulation and the interior processes of transformation and repair. 


To Needle, To Work | Soft Pastel on Sanded Paper

To Needle, To Work

SOFT PASTEL ON SANDED PAPER

On view at ‘Best of The Drawing Year’ end of year exhibition at Christies, London Friday 25 March – Thursday 31 March

Work Details:
To Needle, To Work
2022
70cm x 101cm 
Soft pastel on 350gm sanded paper

This series of soft pastel drawings explores the relationship between fabric and skin forged by the needle. Drawing inspiration from the sculptural shapes temporarily carved during the embroidery process, anthropomorphic forms reveal themselves from folds of cloth. Considering the parallels between material manipulation and the interior processes of transformation and repair. 


In Cold Water, Her Curls Became Liquid | Hand-embroidered Tapestry

In Cold Water, Her Curls Became Liquid

HAND EMBROIDERED TAPESTRY

Selected for Bloomberg New Contemporaries 2022
Spider Lashes and Velveteen Gasp are on view at Humber Street Gallery 23 September – 27 November 2022.

Selected by James Richards, Veronica Ryan and Zadie Xa. Bloomberg New Contemporaries 2022 opens across the Humber Street Gallery and Ferens Art Gallery locations in Hull from 23 September to 27 November 2022. The touring exhibition continues at South London Gallery from 9 December 2022 to 19 March 2023.

The work draws upon the idea of the ‘bottle’ or container as hero, as detailed in The Carrier Bag Theory of Fiction by Ursula K Le Guin. In the essay, Le Guin presents a theory of human evolution drawn from Elizabeth Fisher’s cult feminist text Woman’s Creation: Sexual Evolution and the Shaping of Society that the first human tool was not a weapon but a receptacle, something that made it possible to collect more than could be held in the hands. Taking the form of a teardrop, the works foreground the experience of the body as vessel through collected fragments; hands, hair, the mouth, and the eye. Drawn from a passage in book five of Ovid’s Metamorphoses, considering the relationship between fluidity and transformation. Between folds of satin, static curls becomes tender, dissolving into ribbons; ‘fading away, they vanished into slim streams’.

Work Details:
In Cold Water, Her Curls Became Liquid
2021
58x68x4cm framed
Silk hand-embroidery and freshwater pearl on woven jacquard in walnut


Twice | Tapestry

TWICE

woven jacquard tapestry

Created at Palazzo Monti x The Great Women Artists residency

Twice is an exploration of alignment. Shaped by bodily lines, shallow curves form the landscape, disrupted only by curved tears. Install view from the Palazzo Monti x The Great Women Artists exhibition curated by Katy Hessel, featuring work by residents Sara Anstis, Somaya Critchlow, Charlotte Edey and Ella Walker. 

Work Details:
Twice
2019
127cm x 152cm
Woven jacquard tapestry


Nocturne | Soft Pastel On Paper

Nocturne

soft pastel on sanded paper

On view at ‘The Drawing Year’ end of year exhibition at The Royal Drawing School, April 2022

Work Details:
Nocturne
2022
50cm x 65cm 
Soft pastel on 350gm sanded paper

This series of soft pastel drawings explores the relationship between fabric and skin forged by the needle. Drawing inspiration from the sculptural shapes temporarily carved during the embroidery process, anthropomorphic forms reveal themselves from folds of cloth. Considering the parallels between material manipulation and the interior processes of transformation and repair. 


Fold Into | Soft Pastel On Paper

Fold Into

soft pastel on sanded paper

On view at ‘The Drawing Year’ end of year exhibition at The Royal Drawing School, April 2022

Work Details:
Fold Into
2022
50cm x 65cm 
Soft pastel on 350gm sanded paper

This series of soft pastel drawings explores the relationship between fabric and skin forged by the needle. Drawing inspiration from the sculptural shapes temporarily carved during the embroidery process, anthropomorphic forms reveal themselves from folds of cloth. Considering the parallels between material manipulation and the interior processes of transformation and repair. 


Eavesdrop | Soft Pastel On Paper

Eavesdrop

soft pastel on sanded paper

On view at ‘The Drawing Year’ end of year exhibition at The Royal Drawing School, April 2022

Work Details:
Eavesdrop
2022
50cm x 65cm 
Soft pastel on 350gm sanded paper

This series of soft pastel drawings explores the relationship between fabric and skin forged by the needle. Drawing inspiration from the sculptural shapes temporarily carved during the embroidery process, anthropomorphic forms reveal themselves from folds of cloth. Considering the parallels between material manipulation and the interior processes of transformation and repair. 


Sublime Lapis & Philosophical Mercury | Abracadabra! at Alma Zevi London

Abracadabra! at Alma Zevi

Soft Pastel & Pencil on Paper drawings

The works explore the ‘Great Work’ of the alchemical process, through which two conflicting opposites are redeemed towards a state of perfect harmony.

Work Details:

Sublime Lapis
Soft pastel and pencil on 160gm pastel paper
100mmx100mm
2021

Philosophical Mercury
Soft pastel and pencil on 160gm pastel paper
100mmx100mm
2021

On display at Abracadabra! at Alma Zevi, London. Curated by Freddie Powell gathering works on paper by Rebecca Ackroyd, Juliana Cerqueira Leite, Adam Charlap Hyman, Charlotte Edey, Christopher P. Green, Esme Hodsoll, Andrew Huston, David Murphy, Jack Otway, Rade Petrasevic, Sofia Stevi, Katy Stubbs and Tom Worsfold.

As an incantation, Abracadabra is a word used to trigger a magical effect on a subject, the popularity of which has now been relegated to simple tricks in magic shows. It had previously been a word of healing and for invoking protection against affliction and disease. The exhibition presents a selection of works on paper through which to explore the potential and multitudes of magical thinking and beyond.


Call | Hand-Embroidered Tapestry

Call Tapestry

hand embroidered tapestry

Created for ‘Echolocation’ solo exhibition at PUBLIC Gallery, 2019

A call to the sublime. Shaped by anthropomorphic curves, saltwater waves and linear fabric studies speak to yearning and transcience. Augmented by metallic embroidery and chain appliqué, Call exists suspended between the current and the possible.

Work Details:
Call
2019
140 x 180cm
Hand embroidered silk and metallic thread, chain appliqué and hand beading on woven jacquard


The Decameron Project | New York Times Editorial Illustration

The Decameron Project 

NEW YORK TIMES MAGAZINE EDITORIAL ILLUSTRATION

The issue is inspired by The Decameron, a book of novellas set in 1353 Italy during the bubonic plague. This modern take on the concept commissioned 29 original short stories by contemporary fiction writers around the globe while we are all living in the time of Covid-19.

This piece visualises a short story by Dina Nayeri, about a couple who met and fell in love in wartime Tehran, who are now remembering how their love came about in a time of forced closeness while quarantined together on a sabbatical in France. 

Following the rough shape of an eye, our author peers back into the basement in Tehran, decorated with pillows, bright floor cloths, soft quilts, and fuzzy blankets. Set against the grapefruit sky of present-day Paris, the couple in the basement regard each other furtively, a nod to the fear and desire that shaped their sexual awakening and reawakening. The colour palette draws from the use of red – red siren, red alert, taste of cherry – danger and desire.

View the full issue and short story here.


Union | Hand-Embroidered Tapestry

Union

Embroidered Tapestry

Created for ‘No Time Like The Present’  at PUBLIC Gallery, London. 

In response to the new reality of this international crisis, Union explores the potency of transformation. The central form takes the shape of a spiral, the most widespread shape found in the natural world. It is ‘the path that energy takes when left alone, the path of unfettered yet balanced growth’; the organic growth immediately visible from a world of reduced human interference; progress by way of return. The spiral is framed by an intersection of crosses, a union of paths, crossroads confronting the necessity of change. In this ambiguity, the only certainty is the significance of transition.

Work Details:
Union
2020
280 x 370mm x 20mm
Silk and rayon hand-embroidery on jacquard tapestry with freshwater pearl and crystal beading in walnut frame


A Soft Refusal | Soft Pastel On Paper

A Soft Refusal

SOFT PASTEL DRAWING

On view at ‘Pyschic Anemone’ at Cob Gallery, November 18 2021 – January 22, 2022

Work Details:
A Soft Refusal
2021
50 x 65cm
Soft pastel on 350gsm sanded paper

Cob Gallery is proud to present Psychic Anemone, a group exhibition of mixed-media work by Bea Bonafini, Charlotte Edey and Zoe Williams. These artists are brought to comparison for their multilayered artistic approaches to the transcendental image.  Through their powerfully individual languages of symbolism Bonafini, Edey and Williams address similar themes which include the body politic, ritual, magic, gender, mythology, spirituality, eroticism and sensuality. 

The works in Psychic Anemone are anchored to a liquidity of form and as such, can be explored through an implication of ‘hydrofeminism’ – a mode of posthuman feminist phenomenology that understands our bodies as fundamentally a part of the natural world, not separate from it or bearing any privileged relation to it.

The soft pastel drawings consider the role of container as detailed in The Carrier Bag Theory of Fiction by Ursula K Le Guin. Without the contours of the container to define and hold the form, how does this essence exist without a preordained shape, what shape will it take or will it just run without direction? 


Still So Gently Mutable | Soft Pastel On Paper

Still So Gently Mutable

SOFT PASTEL DRAWING

On view at ‘Pyschic Anemone’ at Cob Gallery, November 18 2021 – January 22, 2022

Work Details:
Still So Gently Mutable
2021
50 x 65cm
Soft pastel on 350gsm sanded paper

Cob Gallery is proud to present Psychic Anemone, a group exhibition of mixed-media work by Bea Bonafini, Charlotte Edey and Zoe Williams. These artists are brought to comparison for their multilayered artistic approaches to the transcendental image.  Through their powerfully individual languages of symbolism Bonafini, Edey and Williams address similar themes which include the body politic, ritual, magic, gender, mythology, spirituality, eroticism and sensuality. 

The works in Psychic Anemone are anchored to a liquidity of form and as such, can be explored through an implication of ‘hydrofeminism’ – a mode of posthuman feminist phenomenology that understands our bodies as fundamentally a part of the natural world, not separate from it or bearing any privileged relation to it.

The soft pastel drawings consider the role of container as detailed in The Carrier Bag Theory of Fiction by Ursula K Le Guin. Without the contours of the container to define and hold the form, how does this essence exist without a preordained shape, what shape will it take or will it just run without direction? 

 


Tear | Pencil Drawing

TEAR

PENCIL DRAWING

Considering Persephone’s role in the cycle of birth and renewal, and the integrity of that rhythm. 

Work Details:
Tear
13.5 x 21cm
2020
Pencil on 120gsm Hahnemuhle cappucino paper

Exhibited at at ‘From Cellar to Garret’ inaugural exhibition at South Parade Gallery, London from December 2020 to May 2021 


Day of Forever Tapestry | Design Museum Installation

The Day of Forever

silk embroidery and pearl on woven jacquard tapestry

Created for ‘Supermarket’ installation at Design Museum, London 2021.

Drawing from the J.G. Ballard text of the same name, the dusk depicted serves as the gateway to dreaming in a world where time stands still. The window is realised as a woven tapestry portal, with dew-like freshwater pearls adorning the petals.

Work Details:
The Day of Forever
Woven jacquard tapestry with silk hand embroidery and freshwater pearl in handmade walnut window frame

86cm x 110cm
2021
 

Supermarket at the Design Museum is an installation to make creativity accessible for all. The supermarket is stocked with a collection of price-matched essential products, from bread to tea bags, each designed by artists. In partnership with Bombay Sapphire, all proceeds go to the Design Museum’s new emerging designer access fund which gives up and coming artists free access to the museum’s exhibitions, events and talks.

Read more:
The Guardian, Dezeen, Wallpaper, Museums Association, Design Week

Cannes Lions International Festival of Creativity awards:
SILVER – Design, Brand Environment & Experience Design
SILVER – Industry Craft, Art Direction
SILVER – Brand Experience, Customer Retail
BRONZE – Industry Craft, Illustration
BRONZE – Brand Experience, Food & Drink


‘Supermarket’ | Design Museum London Installation

Supermarket | The Design Museum

group installation april 21 – april 25 2021

Supermarket at the Design Museum is an installation to make creativity accessible to all and question what is deemed essential in this period of restriction.

Designed by Camille Walala, the supermarket is stocked with a collection of price-matched essential products, from bread to tea bags, each designed by artists. In partnership with Bombay Sapphire, all proceeds go to the Design Museum’s new emerging designer access fund which gives up and coming artists free access to the museum’s exhibitions, events and talks. 

The bread bag packaging responds to the circumstance they were created in. Drawing from the J.G. Ballard text ‘The Day of Forever’, the dusk depicted serves as the gateway to dreaming in a world where time stands still. Moonlit petals float through the window, disrupting the inner landscape of the interior.

Limited edition prints are available via Design Museum Shop here.

Read more:
The Guardian, Dezeen, Wallpaper, Museums Association, Design Week

Cannes Lions International Festival of Creativity awards:
SILVER – Design, Brand Environment & Experience Design
SILVER – Industry Craft, Art Direction
SILVER – Brand Experience, Customer Retail
BRONZE – Industry Craft, Illustration
BRONZE – Brand Experience, Food & Drink


Three Tears | Hand-embroidered Tapestry

Three Tears

Hand-Embroidered Tapestry

Created at Palazzo Monti x The Great Women Artists residency

Three Tears is an expression of desire for unity. The hand-embroidered fragmented tapestry features a suspended profile above and below tears in silk and freshwater pearl. Install view from the Palazzo Monti x The Great Women Artists exhibition curated by Katy Hessel, featuring work by residents Sara Anstis, Somaya Critchlow, Charlotte Edey and Ella Walker. 

Work Details:
Three Tears
2019
24 x 46 x 2cm
Hand-embroidered silk and freshwater pearls on woven jacquard in walnut


Eos | Hand-Embroidered Tapestry Diptych

Eos

Hand EMBROIDERED TAPESTRY DIPTYCH

Created for ‘Ancient Deities’ at Arusha Gallery, Edinburgh 2020

Preceded by the Morning Star, Eos’ tears form the morning dew adorning the grass and early mist. There is a struggle to unfurl the pink ribbon of dawn from her rosy fingers as she opens the gates of heaven for the Sun to rise. Weaving various semblances of light and awakening, dawn speaks to the significance of transition.

Work Details:
Eos
2020
270 x 440 x 25 mm per panel 
Hand-embroidered silk and freshwater pearls on woven jacquard in walnut


Watching Venus

WATCHING VENUS

PENCIL, RECYCLED CARD & DIGITAL COLLAGE DRAWING

Watching Venus cross paths with Pleiades in a time of disintegration. Drawn from the shankh shell, contemplating universal reset, situational perspective and stillness in the face of chaos.

Work Details:
Watching Venus
2020
42x52cm
Hand-signed and numbered museum-quality giclée print on Hahnemuhle Museum Etching 350gsm card
Limited edition of 20

Prints available here.


Echo | Hand-embroidered Tapestry

Echo

hand embroidered Tapestry

Created at Palazzo Monti x The Great Women Artists residency 2019

An exploration of absence and arrival. A suspended scroll in silk is circled by freshwater pearl tears. Install view from the Palazzo Monti x The Great Women Artists exhibition curated by Katy Hessel, featuring work by residents Sara Anstis, Somaya Critchlow, Charlotte Edey and Ella Walker.

Work Details:
Echo
2019
28 x 33cm
Hand-embroidered silk and freshwater pearls on woven jacquard in walnut


Elsewhere | Pencil Drawing

ELSEWHERE

GRAPHITE PENCIL DRAWING

Considering bodily boundaries and integrity. Hair curls are woven as ribbons, becoming ceremonial.

Work Details:
Elsewhere
2020
20 x 31cm
Pencil on 200gm heavyweight cartridge paper


Fragment | Hand-embroidered Tapestry

Fragment

Embroidered Tapestry

Created for ‘This Tragedy’ organised by Ginny on Frederick at Fonda, Leipzig 2020.

On Water and Dreams: ‘a being dedicated to water is a being in flux… something of his substance is constantly falling away’. The hand disturbs the surface draped in chains, evoking linking as both intimacy and weight.

Work Details:
Fragment
2020
250 x 270 x 20mm
Hand-embroidered silk and metallic chain on woven jacquard in walnut


Triune | Hand-Embroidered Tapestry

Triune

Hand Embroidered Tapestry

Private Commission

Triune explores a desire for balance. The symbology of the compass denotes the active construction of harmony. The recurring use of threes across the compass, shadow, orbs and pearls creates a series of intersections, each drawing back to the divine centre.

Work Details:
Triune
2020
305 x 375mm
Hand-embroidered silk and freshwater pearls on woven jacquard in walnut


Years That Answer | Pencil Drawing

YEARS THAT ANSWER

GRAPHITE PENCIL DRAWING IN QUARANTINE


“There are years that ask questions and years that answer.” Exploring the spiral as an evocation of growth and transformation, the only certainty not of progress but of change. Passage from Their Eyes Were Watching God by Zora Neale Hurston.
 

Original graphite pencil drawing on handmade long fibred cotton rag paper. 140 x 180mm