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 ANGELA WRIGHT - ARTIST
 info:  [email protected]

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ART INSTALLATIONS ... p3

 

 

 

 "SILK"  (1)  -  SILK-MASTER'S HOUSE,  5 PRINCELET STREET,  SPITALFIELDS,  LONDON,  EC2

torn red raw silk
dimensions (approx): h: 2.3m / w: 3m / l: 4m
7 Mar 2001 to 29 Apr 2001


Photos:  David Carr-Smith / Patrick Sweeney

LINK:  Making and installing the work


I had the idea that I would bring back silk and memories that would bind India to a Spitalfields silk-master's house. In the Meenakshi Temple in Madurai, in an enormous stone hall seemingly built by giants, a stall holder - under a black statue of Kali draped in an emerald sari - sold me 40 meters of red raw silk wrapped in a bin-liner and string ... bought as pouring rain was flooding the stone gullies and swilling the streets in manure.  I tore the silk into strips, which frayed and tangled, and wove an environment like the cables that straddled every roadway and knotted their way round every telegraph pole.   

 

 

 

"SILK" (2)  -  SILK-MASTER'S HOUSE,  3 PRINCELET STREET,  SPITALFIELDS,  LONDON,  EC2

torn red raw silk
30 Apr 2001 to 17 Jun 2001


Photos:  David Carr-Smith


After its residence in the 'Five Princelet Street Gallery' - part of the converted ground floor of a silk-master's house, "Silk" was reinstalled in the adjoining 3 Princelet Street, an unconverted silk-master's house. 

Number 3 is a private house whose large street-level unshuttered windows afforded direct viewing of a small front-room, a pink panelled wooden box used for 'art' displays (usually extraordinary flower arrangements). These houses rise straight from the pavement and this room was too noisy and public to use domestically. In it the piece was re-hung, differently of course: further off the floor, more 'helpless and captive', and lit at night to be viewed from the pavement by passing voyeurs (in Princelet Street tourists always peer into these museum-like houses, wondering 'what lives here!'). 

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"CROWN OF THORNS"  -  RECEPTION-OFFICE,  CHRISTIE'S EDUCATION,  KENDRICK PLACE,  LONDON,  SW7

plate-shards and skylight
Jun 2000


Photos: David Carr-Smith


 The only source of natural light into this office space was from overhead windows. Here plate-shards (selected from the same group as "Inbedded") fringe the sky-light directly over the Admin-Reception area at the institution's public entry.  It had a threatening presence and thus - via an ensuing brouhaha - the life span of a may fly!

 

 

 

"REJECT-FLOW" (WALL-PIECE),  CHRISTIE'S EDUCATION,  KENDRICK PLACE,  LONDON,  SW7

factory-reject plates refired with torn transfer-glaze
part of mixed exhibition
May 2000 to Sep 2000


Photos: David Carr-Smith


 These plates with their red glaze stripe were made in response to my failure to conceive a baby. Their assembled shape relates to the location and their sequence is pre-determined by the stripe. They were shown in a number of galleries as a floor piece (firstly Riverside Studios 1995 - see below), and most recently as a wall piece directly relating with others' works* in Christie's Education, London).

[* The line of photos of views of London are by Patrick Sweeny]

 

 

 

"COOPERATION-INSTALLATION"  -  ART-HOUSE GALLERY,  LEWISHAM WAY,  LONDON,  SE14

installation made of paintings
 dimension (approx): gallery total wall length (incl 2 doors) = 34m
21 Jul 1999 to 14 Aug 1999


Photos: David Carr-Smith

LINK: Making and installing the work


I taught an autistic man for 4 years. By 1999 he had produced hundreds of paintings. To celebrate his energy and talent I decided to use these paintings as the 'raw material' for a gallery installation. They manifest vigorous action and colour, and do not lend themselves to being framed and hung. I used each whole painting as a 'mark' in a huge composition encircling the gallery walls. I worked on the installation in-situ like a 'painting', changing and rearranging it in the process of finding a definitive form.

 

 

 

"INBEDDED"  -  EDUCATION INSTITUTION ("MODERN ART STUDIES"),  BLOOMSBURY,  LONDON, WC1

plate-shards and spot-lights
Apr 1999 to Aug 2000


Photos:  David Carr-Smith


From 1995, in response to painful emotions and broken relationships, I smashed plates and installed the sharp shards in site-specific locations in buildings. "Inbedded" covered the single-bed sized 'roof'' of the landing WC in a private educational building in Bloomsbury. The piece changed through the day from a translucent rice-paper white glowing with internally scattered light, connoting a purity and beauty that was absent from its thick-carpeted kitsch environment; through evening pink, to a melting hot red at night signalling brothel-sensuality to the rich street through its high rear window.

 

 

 

"LOVE ROLLS"  -  TATE "BANKSIDE BROWSER" EVENT,  SUMNER ST,  LONDON,  SE1

torn-up love letters bound with wire 
"Bankside Browser":  15 Apr 1999 to 9 May 1999


Photos: David Carr-Smith


 Prior to its opening the Tate Modern ran events that established its artistic presence. One such was the "Bankside Browser", an open archive that could be accessed physically and via the web. The brief required a work that fitted an archive box and could be handled by the public. 

I chose to work with love letters I'd received. These were problematic to me - most of all I mistrusted their sincerity. I tore them into strips and rolled them up, securing them with dress labels and pins (I was making wedding dresses when we met) and bound them all together with spiky wires. The visibility of the author's hand made me concerned that placing such intimate letters in a public place risked our friendship!

The Browser event and archive seemed a remarkably suitable 'venue' for these letters - it diagrammed my ambiguous feelings towards them: the works it sheltered and purveyed were held at a nexus of contradictions, where things were safe in secrecy; in a state of hidden potentiality; chosen for direct apprehension via a system of obscurely conveyanced alternatives; released for a limited and tightly controlled exposure.

 

 

 

"REFLECTIONS"  -  COUNSELING ROOM,  FETAL MEDICINE UNIT,  ST GEORGES HOSPITAL,  BLACKSHAW RD.,  TOOTING,  LONDON,  SW17

mirror off-cuts, wire, clay, paint, furniture
part of "Rose and Blue" exhibition
Nov 1997 to Nov 2000


Photos: David Carr-Smith


 The counseling room was drab small windowless - the most unsuitable place to be given bad news. I changed its furniture and colour, and on its end wall assembled mirror-glass off-cuts to give a sense of depth breadth and light. I wanted to provide the missing window - the glass evoked an imaginary townscape view. To ameliorate the harshness of reflection I overhung the mirror with strings of porcelain-clay 'roses' bound by and hanging on twisted wire - an image between pain and reassurance.

 

 

 

"BED & PILLOWS"  -  CABLE STREET STUDIOS GALLERY,  CABLE ST,  LONDON,  E1W 

unfired porcelain clay
 group exhibition
Jun 1997


Photos: David Carr-Smith

This was the first unfired porcelain-clay work made for public exhibition in a gallery. 

It predates the Oct 2001 'Economist Carpet' installation, and its following two public works using the same (but increasingly fragmented) raw-clay pieces: May 2003 Church Work (1) and Jun 2006 "Overlooked" [all three on page 'WORK-2'].  

 

 

 

ROOM INSTALLATION  -  "OLIVE MORRIS HOUSE",  PECKHAM ROAD,  LONDON,  SE5

plate-shards and room
'Southwark Open' exhibition
Nov 1995


Photos: David Carr-Smith


 "Olive Morris House" was an empty commercial building near Camberwell Art College and the South London Gallery. Angela's room-installation was part of a large exhibition, organised by the South London Gallery, that utilised its large warehouse-type spaces and office rooms. At this time Angela was using shards of smashed white plates "in response to painful emotions and broken relationships".

[The third pic is a view through the window plus reflection of the room.]

 

 

 

"GIFT"  -  "CONDUCTORS HALLWAY" GALLERY,  CAMBERWELL NEW RD,  LONDON

wood box, white tiles, red satin
Sep 1995


Photos: David Carr-Smith


 Angela rented a studio in the "Conductors Hallway" complex (an ex bus-station). This object was made for the inaugural exhibition in its new display space.

 

 

 

"REJECT-FLOW" (FLOOR-PIECE)  -  "RIVERSIDE STUDIOS",  1 CRISP RD,  LONDON,  W6  &  SOUTH HILL PARK, BRACKNELL  /  ST MARTINS SCHOOL OF ART, CHARING CROSS RD, LONDON

factory-reject plates refired with torn transfer-glaze
part of "Angels and Mechanics: An Exhibition About Fertility" touring exhibition - curators Deborah Law & Sandra Peatty 
19 May 1995 to 5 Oct 1996

St Martins School of Art 
Sep 1999


Photos: David Carr-Smith


 These plates with their red glaze stripe were made in response to my failure to conceive a baby. Their assembled shape relates to the location and their sequence is pre-determined by the stripe. They were shown in a number of galleries as a floor piece - firstly in Riverside Studios, then South Hill Park, Bracknell, also in St Martins School of Art, and most recently as a wall piece directly relating with others' works in Christie's Education, London (May 2000) (see above).

[The first three pics are Riverside Studios, the fourth pic is St Martins School of Art.]



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