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Often collaborating with an all-female cast of volunteers and participants – amateur and professional weightlifters, spray tan beauticians, dancers, ‘tequila-girls’, strippers, midwives, sound engineers and translators – Benigson’s work produces carnivalesque, pulsating spaces, referencing contemporary game playing, performance and what it means to “share”.
“I am interested in fattening spaces so that they become full and chaotic, while at the same time flattening, compressing and reducing, so that the spaces themselves are nothing but screens or skins.”
Cashino Desert, 2015
HD Video stills (1, 2)
Always On, 2013
HD video still
Sushi, 2014
Digital print, dimensions variable
Paradoxes and oppositions run throughout Lydia Brockless’ work.
Employing everyday, traditionally ‘feminine’ household materials and crafts in unconventional ways, her practice may be described as “Not Using Things For Their Intended Purpose”: soap bars are shredded on a cheese grater, mixed with dyes and remoulded into abstract, organic shapes; crocheted, soft textile is hardened into a cage-like structure by melting its fibres; and liquid detergent forms colourful pools inside handmade vessels, permeating the room with its heady scent.
The soft, comfortable femininity of Brockless’ materials is subjected to destructive processes like cutting, melting and bleaching which in turn negate their original properties as household products, and allow them to become something other.
Faint Esters, 2017
Glazed white stoneware, shower gel, hand soap, bath soak
Crystal Mud, 2018
Soap, dye
Emma Corrall is an interdisciplinary artist with a focus on sculpture in relation to choreography in the everyday. Implementing cultural techniques that operate between art and anthropology, retail and the fitness and health industry, Corrall’s practice poses questions around consumer culture, object ontologies and biopolitics.
Her work, which encompasses video, sculpture, ceramics, painting and prints, is presented in relation to a physical individual presence: the performer in the image, or the visitor to the installation. The use of everyday and crafted objects in her installation, combined with myriad cultural references – from Welsh funerary tradition to the latest superfood craze – in her installations seek to draw the spectator away from their ‘knowledge’ and predetermined sense of self. In Corrall’s work, the materiality of each medium employed is presented in a direct relationship with physicality to construct a non-hierarchical environment, whereby both tangible objects and human perception are destabilised.
They Said It Would Be Finished By The Summer, 2017
Cast porcelain gingers, resin, ice cream cones, plasticine, sand and bucket
They Said It Would Be Finished By The Summer, 2017 (detail)
Treasure Me And Add It Up, 2016
Cast porcelain mannequin leg, wood, rope, digital print. resin, tape, tights, slipper
Wipe Down
Digital drawing
C Type Metallic Paper, ed. 20
42 x 59 cm
Exploring themes of power, femininity, nature, technology, the body and indulgence, Maisie Cousin’s brightly coloured photographs are at once seductive and repelling. Embracing every part of the human body, its processes and impulses, Cousin’s work seeks to present femininity and sexuality in a positive and open way.
There is a highly haptic quality to Cousin’s work: flesh, pink flowers, ripe, colourful fruit, crawling insects, are covered in sticky, glistening liquid that binds them together in visceral, sensual images that yearn to be touched. Yet, the body remains untouchable behind its glossy screen. Mesmerising, alluring, real, it beckons you in and holds you there whether you like it or not.
bumhole, 2015
Archival giclée print on Hahnemühle Pearl
118.9 x 79.3 cm
everybody’s pining for some body, 2017
Archival giclée print on Hahnemühle Pearl
118.9 x 79.3 cm
orchid, 2015
Archival giclée print on Hahnemühle Pearl
42 x 28 cm
Anita Klein’s painting, prints and drawing are intimate, joyful celebrations of everyday living with her family. Through her confident use of line, space and vibrant colours, Klein captures ordinary moments of daily life that we all recognise, and imbues them with a grand simplicity. Rendered with humour, sensitivity and beauty, Klein’s work forms an archive of small, personal moments of her life and her role as wife and mother – depicting personal memories that are universally understood.
Anita Klein was born in Sydney, Australia in 1960 and moved to London with her mother and sister when she was eleven years old. Klein studied at Chelsea School of Art and Slade School of Art, where she was awarded the Henrique Scholarship, and is a Fellow and Past President of the Royal Society of Painter Printmakers.
Dea della Vite (Goddess of the Grapevine)
Acrylic on canvas
96 x 152 cm
Provare i Cappelli (Trying on Hats)
Acrylic on canvas
61 x 102 cm
The Tiny Baby
Lithograph
ed. of 25
Sara Pope is known for her bold, seductive paintings of voluptuous lips. Interested in questions of beauty, communication, and the rise of image perfectionism, Pope draws from her experience in fashion, beauty and the media to explore these themes.
Born in Stoke-on-Trent, Pope completed a degree in mathematics before moving to Barcelona to study graphic design. After a stint working in the media, she began a successful career in the fashion industry working a shoe designer for brands including Paul Smith and Lacoste.
Pope’s early commercial work continues to inspire her art practice. Staged photographs of a model’s painted lips, which the artist directs to express different emotions, form the basis of all of Pope’s work. Working primarily in oil and acrylic, she uses bold, seductive colours with high-shine gloss to capture the sensuality and seductive power conveyed by the lips and mouth. Often incorporating makeup and materials imbued with a high visual appeal such as neon lighting, gold leaf, and glitter, her paintings and prints imitate the slickness of advertising, whilst provocatively subverting its themes.
The result is glossy, perfect and irresistible.
Electric
Oil on gesso covered wood panel with neon light
80 x 80 cm
Crime of Passion (Red)
Oil on gesso covered wood panel, 24ct gold leaf with leopard print relief
100cm x 100cm
Alicia Reyes Mcnamara is a Chicago-born artist living in London, whose work deals with issues of displacement, particularly within a double diaspora, and aims to challenge incomplete identities constructed by two-dimensional ideas of Latino culture.
Reyes Mcnamara’s paintings and installations combine a cartoon aesthetic with complex references to critical theory, Latin American folk art, and family history, to question ideas of authenticity within a diaspora.
Untitled, 2016
Hand built ceramics, plaster, polystyrene, wood, acrylic paint, oil paint, plastic, wallpaper
All aflame, 2018
Graphite on paper
62.5 x 45 cm
All she holds
Hand built ceramics