Spiraling | Sea View

Spiraling

HAND EMBROIDERED TAPESTRY

Work Details:
Spiraling, 2023
Silk, glass beads, freshwater pearl, woven jacquard, sapele
12in x 12in

The Inexpressible is Contained
Charlotte Edey & Azadeh Elmizadeh
Sea View, Los Angeles
September 16 – October 21, 2023

Sea View is pleased to present The Inexpressible is Contained, a two-person exhibition of new works by Charlotte Edey (b.1992, Manchester, UK) and Azadeh Elmizadeh (b. 1987, Tehran, IR). For their Los Angeles debut, artists Edey and Elmizadeh explore selfhood by disembodying their subjects, examining instead the shifting historical, spiritual and environmental realms that shape and inform their layered identities. Rather than pursuing gendered forms or figures, both artists opt for intangible spaces and mutable forms, such as water, fire, earth and air suggest notions of porosity and luminosity – as well as containment and darkness. 

Charlotte Edey’s ethereal works move between intricate soft pastel drawings on paper and weavings that incorporate satin-stitch embroidery and beadwork. Often sewing freshwater pearls and glass beads by hand throughout her pieces, Edey’s exacting materials emulate the faintest glow of moonlight or the flicker of a water’s edge. Light and shadow function as psychological and narrative metaphors for the unknowable and certain and the internal and external. Interiors and rooms evolve into emotive structures, reflecting on the architecture of the human body as it reconciles with its outer environment.

Inspired by Ovid’s Metamorphosis and hydrofeminist texts that combine feminist, queer, and ecological thinking, Edey emphasizes the inseparable relationship between the female body and bodies of water by weaving aquatic imagery through her interiors. In works such as “Breathwork,” the floor doubles as an expansive lake, glistening with strewn opalescent beads. In “Dollshouse,” the windows of a room start to resemble heavy-lidded eyes, with billowing curtains that run like tears. By encasing these drawings and weavings in found frames – some that date as far back as the Edwardian period – Edey presents a terraria of dreamlike worlds that play between the domestic and metaphysical.

 


This Thought Can Take Strange Shapes In An Empty Room | Sea View

This Thought Can Take Strange Shapes In An Empty Room

HAND EMBROIDERED TAPESTRY

Work Details:
This Thought Can Take Strange Shapes In An Empty Room, 2023
Silk, glass beads, freshwater pearl, woven jacquard in sapele frame
8 3/4 x 19 3/4 in (22 x 50 cm)

The Inexpressible is Contained
Charlotte Edey & Azadeh Elmizadeh
Sea View, Los Angeles
September 16 – October 21, 2023

Sea View is pleased to present The Inexpressible is Contained, a two-person exhibition of new works by Charlotte Edey (b.1992, Manchester, UK) and Azadeh Elmizadeh (b. 1987, Tehran, IR). For their Los Angeles debut, artists Edey and Elmizadeh explore selfhood by disembodying their subjects, examining instead the shifting historical, spiritual and environmental realms that shape and inform their layered identities. Rather than pursuing gendered forms or figures, both artists opt for intangible spaces and mutable forms, such as water, fire, earth and air suggest notions of porosity and luminosity – as well as containment and darkness. 

Charlotte Edey’s ethereal works move between intricate soft pastel drawings on paper and weavings that incorporate satin-stitch embroidery and beadwork. Often sewing freshwater pearls and glass beads by hand throughout her pieces, Edey’s exacting materials emulate the faintest glow of moonlight or the flicker of a water’s edge. Light and shadow function as psychological and narrative metaphors for the unknowable and certain and the internal and external. Interiors and rooms evolve into emotive structures, reflecting on the architecture of the human body as it reconciles with its outer environment.

Inspired by Ovid’s Metamorphosis and hydrofeminist texts that combine feminist, queer, and ecological thinking, Edey emphasizes the inseparable relationship between the female body and bodies of water by weaving aquatic imagery through her interiors. In works such as “Breathwork,” the floor doubles as an expansive lake, glistening with strewn opalescent beads. In “Dollshouse,” the windows of a room start to resemble heavy-lidded eyes, with billowing curtains that run like tears. By encasing these drawings and weavings in found frames – some that date as far back as the Edwardian period – Edey presents a terraria of dreamlike worlds that play between the domestic and metaphysical.

 


Heavy Lidded | Sea View

Heavy Lidded

SOFT PASTEL ON PAPER

Work Details:
Soft pastel on paper in found  Edwardian carved wood frame
36cm x 46cm

The Inexpressible is Contained
Charlotte Edey & Azadeh Elmizadeh
Sea View, Los Angeles
September 16 – October 21, 2023

Sea View is pleased to present The Inexpressible is Contained, a two-person exhibition of new works by Charlotte Edey (b.1992, Manchester, UK) and Azadeh Elmizadeh (b. 1987, Tehran, IR). For their Los Angeles debut, artists Edey and Elmizadeh explore selfhood by disembodying their subjects, examining instead the shifting historical, spiritual and environmental realms that shape and inform their layered identities. Rather than pursuing gendered forms or figures, both artists opt for intangible spaces and mutable forms, such as water, fire, earth and air suggest notions of porosity and luminosity – as well as containment and darkness. 

Charlotte Edey’s ethereal works move between intricate soft pastel drawings on paper and weavings that incorporate satin-stitch embroidery and beadwork. Often sewing freshwater pearls and glass beads by hand throughout her pieces, Edey’s exacting materials emulate the faintest glow of moonlight or the flicker of a water’s edge. Light and shadow function as psychological and narrative metaphors for the unknowable and certain and the internal and external. Interiors and rooms evolve into emotive structures, reflecting on the architecture of the human body as it reconciles with its outer environment.

Inspired by Ovid’s Metamorphosis and hydrofeminist texts that combine feminist, queer, and ecological thinking, Edey emphasizes the inseparable relationship between the female body and bodies of water by weaving aquatic imagery through her interiors. In works such as “Breathwork,” the floor doubles as an expansive lake, glistening with strewn opalescent beads. In “Dollshouse,” the windows of a room start to resemble heavy-lidded eyes, with billowing curtains that run like tears. By encasing these drawings and weavings in found frames – some that date as far back as the Edwardian period – Edey presents a terraria of dreamlike worlds that play between the domestic and metaphysical.


Dollshouse | Sea View

Dollshouse

SOFT PASTEL ON PAPER

Work Details:
Dollshouse, 2023
Soft pastel on paper in found octagonal carved wood frame
48cm x 48cm

The Inexpressible is Contained
Charlotte Edey & Azadeh Elmizadeh
Sea View, Los Angeles
September 16 – October 21, 2023

Sea View is pleased to present The Inexpressible is Contained, a two-person exhibition of new works by Charlotte Edey (b.1992, Manchester, UK) and Azadeh Elmizadeh (b. 1987, Tehran, IR). For their Los Angeles debut, artists Edey and Elmizadeh explore selfhood by disembodying their subjects, examining instead the shifting historical, spiritual and environmental realms that shape and inform their layered identities. Rather than pursuing gendered forms or figures, both artists opt for intangible spaces and mutable forms, such as water, fire, earth and air suggest notions of porosity and luminosity – as well as containment and darkness. 

Charlotte Edey’s ethereal works move between intricate soft pastel drawings on paper and weavings that incorporate satin-stitch embroidery and beadwork. Often sewing freshwater pearls and glass beads by hand throughout her pieces, Edey’s exacting materials emulate the faintest glow of moonlight or the flicker of a water’s edge. Light and shadow function as psychological and narrative metaphors for the unknowable and certain and the internal and external. Interiors and rooms evolve into emotive structures, reflecting on the architecture of the human body as it reconciles with its outer environment.

Inspired by Ovid’s Metamorphosis and hydrofeminist texts that combine feminist, queer, and ecological thinking, Edey emphasizes the inseparable relationship between the female body and bodies of water by weaving aquatic imagery through her interiors. In works such as “Breathwork,” the floor doubles as an expansive lake, glistening with strewn opalescent beads. In “Dollshouse,” the windows of a room start to resemble heavy-lidded eyes, with billowing curtains that run like tears. By encasing these drawings and weavings in found frames – some that date as far back as the Edwardian period – Edey presents a terraria of dreamlike worlds that play between the domestic and metaphysical.


Exhale | Sea View

Exhale

HAND EMBROIDERED TAPESTRY

Work Details:
Exhale, 2023
Silk, glass beads, freshwater pearl, woven jacquard, sapele
12in x 12in

The Inexpressible is Contained
Charlotte Edey & Azadeh Elmizadeh
Sea View, Los Angeles
September 16 – October 21, 2023

Sea View is pleased to present The Inexpressible is Contained, a two-person exhibition of new works by Charlotte Edey (b.1992, Manchester, UK) and Azadeh Elmizadeh (b. 1987, Tehran, IR). For their Los Angeles debut, artists Edey and Elmizadeh explore selfhood by disembodying their subjects, examining instead the shifting historical, spiritual and environmental realms that shape and inform their layered identities. Rather than pursuing gendered forms or figures, both artists opt for intangible spaces and mutable forms, such as water, fire, earth and air suggest notions of porosity and luminosity – as well as containment and darkness. 

Charlotte Edey’s ethereal works move between intricate soft pastel drawings on paper and weavings that incorporate satin-stitch embroidery and beadwork. Often sewing freshwater pearls and glass beads by hand throughout her pieces, Edey’s exacting materials emulate the faintest glow of moonlight or the flicker of a water’s edge. Light and shadow function as psychological and narrative metaphors for the unknowable and certain and the internal and external. Interiors and rooms evolve into emotive structures, reflecting on the architecture of the human body as it reconciles with its outer environment.

Inspired by Ovid’s Metamorphosis and hydrofeminist texts that combine feminist, queer, and ecological thinking, Edey emphasizes the inseparable relationship between the female body and bodies of water by weaving aquatic imagery through her interiors. In works such as “Breathwork,” the floor doubles as an expansive lake, glistening with strewn opalescent beads. In “Dollshouse,” the windows of a room start to resemble heavy-lidded eyes, with billowing curtains that run like tears. By encasing these drawings and weavings in found frames – some that date as far back as the Edwardian period – Edey presents a terraria of dreamlike worlds that play between the domestic and metaphysical.

 


Tongue Tied | Hand-embroidered Tapestry

Tongue Tied

HAND EMBROIDERED TAPESTRY

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 moon is presented as night’s mirror, whose source of power is derived from the light of another celestial body. 
 

 


framework at Ginny on Frederick

framework

ginny on frederick

‘framework’ solo exhibition at Ginny on Frederick from Saturday 18 March – Saturday 22 April 2023

The works in framework use the motif of the window to explore its potency as a symbolic portal. The window, by virtue of its flatness, frame and transparency, is particularly predestined for fundamental reflection on the image and the process of seeing. The methods of display utilise found frames to blur the boundary between the real and the represented, the frame and the window, in order to create autobiographical works that explore interior space and identity.
 
The exhibition is accompanied by an original text ‘Soft Pastoral’ from Ella Frears
 
Ginny on Frederick
91 – 93 Charterhouse St, London EC1M 6HR

Pincushion | Soft Pastel on Paper

Pincushion

soft pastel on paper in found walnut and porcelain frame

On view at New Art Dealers Alliance, New York. Group presentation with Ginny on Frederick from Thursday 18 May – Sunday 21 May 2023

Work Details:
Pincushion
2023
Soft pastel on paper in found walnut and porcelain Black Forest tramp art frame
25cm x 30cm

Ginny on Frederick at NADA, New York
Booth 4.03
548 W 22nd St
New York, NY 10011, USA

For information and inquiries: mail@ginnyonfrederick.com


Chapter III | framework at Ginny on Frederick

Chapter III

beaded tapestry in artist frame

On view at ‘framework’ solo exhibition at Ginny on Frederick from Saturday 18 March – Saturday 22 April 2023

Work Details:
Chapter III
2023
38.5cm x 29.5cm x 5cm
Silk, glass beads, freshwater pearl, woven jacquard in sapele hinge double frame

The works in framework use the motif of the window to explore its potency as a symbolic portal. The embroidered tapestry works navigate a controlled visibility. In these intimate ‘display windows’, the curtains are drawn to the public stage, blurring the interior. Glass beads and freshwater pearls cover the surface, further obfuscating the act of seeing. The methods of display utilise found frames to blur the boundary between the real and the represented -the frame and the window – in order to create autobiographical works that explore interior space and identity.
 
The exhibition is accompanied by an original text ‘Soft Pastoral’ from Ella Frears
 
Ginny on Frederick
91 – 93 Charterhouse St, London EC1M 6HR

Voicebox | Soft Pastel on Paper

Voicebox

soft pastel on paper in found wood and inlaid marble frame

On view at New Art Dealers Alliance, New York. Group presentation with Ginny on Frederick from Thursday 18 May – Sunday 21 May 2023

Work Details:
Voicebox
2023
Soft pastel on paper in found carved wood and inlaid marble panel frame
15cm x 21cm

Ginny on Frederick at NADA, New York
Booth 4.03
548 W 22nd St
New York, NY 10011, USA

For information and inquiries: mail@ginnyonfrederick.com


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

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


Wink | framework at Ginny on Frederick

Wink

soft pastel on paper in found georgian window frame

On view at ‘framework’ solo exhibition at Ginny on Frederick from Saturday 18 March – Saturday 22 April 2023

Work Details:
Wink
2023
76cm x 82.5cm 
Soft pastel on sanded paper, found Georgian nine panel window frame, mirror

The works in framework use the motif of the window to explore its potency as a symbolic portal. The methods of display utilise found frames to blur the boundary between the real and the represented -the frame and the window – in order to create autobiographical works that explore interior space and identity.
 
The exhibition is accompanied by an original text ‘Soft Pastoral’ from Ella Frears
 
Ginny on Frederick
91 – 93 Charterhouse St, London EC1M 6HR
 

Visible Darkness | Soft Pastel Diptych

Visible Darkness

soft pastel diptych in found walnut and porcelain frames

On view at New Art Dealers Alliance, New York. Group presentation with Ginny on Frederick from Thursday 18 May – Sunday 21 May 2023

Work Details:
Visible Darkness
2023
Soft pastel on paper in found walnut and porcelain frames
20cm x 27cm per frame

Ginny on Frederick at NADA, New York
Booth 4.03
548 W 22nd St
New York, NY 10011, USA

For information and inquiries: mail@ginnyonfrederick.com


Viewing Room | Soft Pastel on Paper

Viewing Room

soft pastel on paper in found wood frame with inlaid marquetry

On view at New Art Dealers Alliance, New York. Group presentation with Ginny on Frederick from Thursday 18 May – Sunday 21 May 2023

Work Details:
Viewing Room
2023
Soft pastel on paper in found wood frame with inlaid marquetry
30cm x 33cm

Ginny on Frederick at NADA, New York
Booth 4.03
548 W 22nd St
New York, NY 10011, USA

For information and inquiries: mail@ginnyonfrederick.com


Sheets | framework at Ginny on Frederick

Sheets

soft pastel on paper in found georgian window frame

On view at ‘framework’ solo exhibition at Ginny on Frederick from Saturday 18 March – Saturday 22 April 2023

Work Details:
Sheets
2023
76cm x 82.5cm 
Soft pastel on sanded paper, found Georgian nine panel window frame, mirror

The works in framework use the motif of the window to explore its potency as a symbolic portal. The methods of display utilise found frames to blur the boundary between the real and the represented -the frame and the window – in order to create autobiographical works that explore interior space and identity.
 
The exhibition is accompanied by an original text ‘Soft Pastoral’ from Ella Frears
 
Ginny on Frederick
91 – 93 Charterhouse St, London EC1M 6HR

Body Poetics at Giant Art Gallery

Body Poetics

GIANT ART GALLERY

18 February – 6 May 2023

GIANT presents Body Poetics, a group exhibition pairing nine feminist artists working at the advent of feminist theory in the 1970’s and 80’s with a contemporary artist from a younger generation. Curated by Marcelle Joseph and Becca Pelly-Fry.

Kiki Smith and Charlotte Edey
Louise Bourgeois and Holly Stevenson

Helen Chadwick and Rosie Gibbens
Judy Chicago and Ad Minoliti
Guerrilla Girls and Evan Ifekoya
Senga Nengudi and Enam Gbewonyo
Niki de Saint Phalle and Rae-Yen Song
Carolee Schneemann and Florence Peake
Penny Slinger and Tai Shani

Judith Butler wrote in Bodies That Matter (1993) that it is impossible to ‘consider the materiality of the body’ as bodies cannot be fixed ‘as simple objects of thought’. Instead, bodies are ‘a world beyond themselves’. ‘This movement beyond their own boundaries, a movement of boundary itself, appeared to be quite central to what bodies “are”.’ Much like poetry, bodies are constructed. Instead of words, bodies are constructed by society through relations of power. In this exhibition, the body is set in motion, much like the words of a poem. Where the words are placed and in what order changes the meaning, the feeling or the aesthetics of the words on the page. In this exhibition, gender performativity takes centre stage in a way that claims critical agency and is not bound by the structures of patriarchal society. 

Featuring a range of works made from the 1970’s to the present and across the mediums of painting, printmaking, sculpture, photography, video, performance, textile and sound, Body Poetics is a feminist provocation across time and space that explores the outer limits of what a body can be, using the broadest sense of the word ‘feminist’ to include all female-identifying, non-binary and trans artists. 

“Kiki Smith and Charlotte Edey share many mediums in common across their artistic practices, working in drawing, printmaking, embroidery and tapestry to explore gendered subjectivity in relation to mortality, gender, race, sexuality, women’s rights and the politics of space. Both artists draw on myth, mysticism and folklore to create images of the sublime, rooted in lived experience.”

Work details:
Sorcerer’s Time
2023
Soft pastel on paper in sapele frame
26x26cm framed

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

Freshwater
2020
Silk hand-embroidery and freshwater pearl on woven jacquard in walnut
16cmx22cm


Chapter II | framework at Ginny on Frederick

Chapter II

beaded tapestry in artist frame

On view at ‘framework’ solo exhibition at Ginny on Frederick from Saturday 18 March – Saturday 22 April 2023

Work Details:
Chapter II
2023
38.5cm x 29.5cm x 5cm
Silk, glass beads, freshwater pearl, woven jacquard in sapele hinge double frame

The works in framework use the motif of the window to explore its potency as a symbolic portal. The embroidered tapestry works navigate a controlled visibility. In these intimate ‘display windows’, the curtains are drawn to the public stage, blurring the interior. Glass beads and freshwater pearls cover the surface, further obfuscating the act of seeing. The methods of display utilise found frames to blur the boundary between the real and the represented -the frame and the window – in order to create autobiographical works that explore interior space and identity.
 
The exhibition is accompanied by an original text ‘Soft Pastoral’ from Ella Frears
 
Ginny on Frederick
91 – 93 Charterhouse St, London EC1M 6HR

Whisper | framework at Ginny on Frederick

Whisper

soft pastel on paper in found georgian window frame

On view at ‘framework’ solo exhibition at Ginny on Frederick from Saturday 18 March – Saturday 22 April 2023

Work Details:
Whisper
2023
76cm x 82.5cm 
Soft pastel on sanded paper, found Georgian nine panel window frame, mirror

The works in framework use the motif of the window to explore its potency as a symbolic portal. The methods of display utilise found frames to blur the boundary between the real and the represented -the frame and the window – in order to create autobiographical works that explore interior space and identity.
 
The exhibition is accompanied by an original text ‘Soft Pastoral’ from Ella Frears
 
Ginny on Frederick
91 – 93 Charterhouse St, London EC1M 6HR

Chapter IV | framework at Ginny on Frederick

Chapter IV

beaded tapestry in artist frame

On view at ‘framework’ solo exhibition at Ginny on Frederick from Saturday 18 March – Saturday 22 April 2023

Work Details:
Chapter IV
2023
38.5cm x 29.5cm x 5cm
Silk, glass beads, freshwater pearl, woven jacquard in sapele hinge double frame

The works in framework use the motif of the window to explore its potency as a symbolic portal. The embroidered tapestry works navigate a controlled visibility. In these intimate ‘display windows’, the curtains are drawn to the public stage, blurring the interior. Glass beads and freshwater pearls cover the surface, further obfuscating the act of seeing. The methods of display utilise found frames to blur the boundary between the real and the represented -the frame and the window – in order to create autobiographical works that explore interior space and identity.
 
The exhibition is accompanied by an original text ‘Soft Pastoral’ from Ella Frears
 
Ginny on Frederick
91 – 93 Charterhouse St, London EC1M 6HR

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. 


Bloomberg New Contemporaries 2022 at South London Gallery

Bloomberg New Contemporaries 2022

CHARLOTTE EDEY HAS THREE WORKS SELECTED FOR NEW CONTEMPORARIES

South London Gallery
9 December – 19 March 2023


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, South London Gallery. Photography Andy Stagg. Courtesy New Contemporaries


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

 

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


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


Cutting Ties | Soft Pastel On Paper

Cutting Ties

SOFT PASTEL ON SANDED PAPER


1969 Gallery presents a ‘Eternal Reverie’, a group show of works by Olive Diamond, Charlotte Edey, Landon Bailey Higgins, Alyssa Klauer and Sarah Lee. The exhibition runs from
January 12 until March 4, 2023

Work details:
Cutting Ties, 2023
Soft pastel on sanded paper in found cedar frame
28cm x 34cm

1969 GALLERY
39 WHITE STREET (TRIBECA)
NEW YORK, NY 10013-3538
Tuesday – Saturday 11am – 6pm


Finger Coils | Soft Pastel On Paper

Finger Coils

SOFT PASTEL ON SANDED PAPER


1969 Gallery presents a ‘Eternal Reverie’, a group show of works by Olive Diamond, Charlotte Edey, Landon Bailey Higgins, Alyssa Klauer and Sarah Lee. The exhibition runs from January 12 until March 4, 2023

Work details:
Finger Coils, 2023
Soft pastel on sanded paper
50cm x 65cm

1969 GALLERY
39 WHITE STREET (TRIBECA)
NEW YORK, NY 10013-3538
Tuesday – Saturday 11am – 6pm

 

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
 

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


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


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.