14 August – 25 September 2010
The National Sculpture Prize 2010 is the second instalment of the Art Prize created by the Bluecoat Display Centre, to hunt out innovative new artists and makers in the field of Applied Arts. Following the success of our competition in 2008, this years edition of the competition has shortlisted six artists, whose work is new and exciting, experimental and that shows talent and fresh thinking.
The competition was open to all professional artists in their field, at any point in their career. These six short listed artists will now see their work on display in our gallery, they will also be eligible for £1,000 cash prize. There will also be a ‘People’s Choice Award’, for the artist nominated by members of the public. The winner of the cash prize will be announced on Friday 10th September at 6pm.
It was Mari-Ruth Oda’s new work that really caught our eye: The Wave series. Taking inspiration from the forms that water makes and also by the mental waves of ‘thought’. From her studio in Manchester, her forms are hand-built through building up layers of coils and manipulating by adding, scrapping and sculpting the forms.
Nicholas Lees uses a combination of slipcasting and handbuilding techniques so that his work creates expressions of both tension and resolution. For the work included in this exhibition, he has focused on the exploration of the relationship between ‘artificial’ (mechanical, manmade, ordered, hard, reductive) and ‘natural’ (organic, soft, disordered, accretive) aesthetics.
Nicolas’s awareness of light is really acute. His research into how it forms and sits was the basis for his new work, and started when he was working in Italy, working in buildings that are illuminated by natural light. This conscious awareness has stimulated a need to incorporate light, either natural or electrical, into the work. He believes that the use of hand tools adds and aids to the resultant image creating a personal and intimate statement, communicating its message to the viewer.
Over the last couple of years Katriona has become increasingly interested in the issue of the subject in the public eye. She studies notions of consumption, privacy, vulnerability and exploitation, and as a result of her enquiries, she created a series of 3D collages. She believes them to be a kind of metaphorical portrait, based upon herself and those around her.
It is the simplicity of japanese ceramics that inspires the work of Maya Selway. Her new work is influenced by laquerware and its connections to the tradition of Wabi-Sabi (the art of finding beauty in imperfection). There is a profundity in simplicity, she believes, and her work shows this. They are ‘contemplative precious metal objects’ – both functional and non functional, and they sit together harmoniously, invitingly.
Working predominantly in metal (casting and mould making predominantly), Caren Hartley has a fascination for the lives of familiar objects, and in particular, those that are seemingly unimportant or have fallen out of favour. She has followed the themes of rebirth, simulation and object translations, looking at how a parody of the original is created when material truths and untruths are interfered with.
Supported by Malthouse & Co Chartered Accountants