by Judy Clark
Painting : oil, ink
20 x 20 x 5 cm 7.9 x 7.9 x 2 inch
One of the last works available by this artist
Second NOT DISPLAYED BLUR TEXT
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About the artwork
Type
Unique work
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Authenticity
Sold with certificate of Authenticity from the gallery
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Dimensions cm • inch
20 x 20 x 5 cm 7.9 x 7.9 x 2 inch Height x Width x Depth
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Framing
Not framed
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Art Nou 277 Gallery • Spain
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Presentation
A solo exhibition The Occupier in Pallant House Gallery Chichester in 1998 included 'Shades of Grey' packets of grey powder (ash and plaster mixed) and silicone casts. 'The Occupier' photogaphs of a blue sky encased in plastic and strung on wire across the wall. 'Core' sandbags, black fibre and willow twigs. An Arts Council grant enabled a collaborative project A Rare Sighting for Cable Street Gallery in London in 1999.
The installation used sound sensors, a soundtrack and amplifiers, sandbags, brown paper bags. I worked with sound composers and electronic engineer. Following this in 2000 I was commissioned to design a series of wall-hangings for three of the smaller conference rooms in Portcullis House Westminster. 1980s Studio in Carpenters Road, Stratford, the work used a variety of media including found and collected materials and packaging. Twenty different kinds of white powder were packaged in a work called 'Twenty Household Substances'. A collection of brown paper envelopes sent by the Department of Social Services were filled with small handfuls of sand for a piece called 'Messages from the Desert'. Plaster casts of body parts resulted in 'Soft Bags'.
During the Miners Strike of 1984, I found and collected together used matchboxes which bore the marks of repeated use. These were copied and enlarged by hand to make 'Strike' a set of five drawings. 1982 saw the completion of Antenna Project, a set of drawings of TV aerials from seven European cities.1970sThe Slade postgraduate show in 1973 led to the solo exhibition Issues the same year with Garage Art, in London's Covent Garden.
The work in the exhibition used bodily detritus to explore ideas about identity, pollution and taboo. It was original and unusual at the time and was influential, particularly in relation to women artists. Work from the Issues exhibition was purchased by the Tate and Arts Council, and the work appeared in Art As A Thought Process at the Serpentine Gallery in 1974, Reflected Images at Kettles Yard in 1977 and more recently in Live In Your Head at Whitechapel Art Gallery in 2000. For more information about the exhibition and the responses to it, see the bibliography below
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