January 2011
Artist Focus - Sculpture / Installation artist directory
The artist directory is full of talented emerging professional artists from all over the World.
In this issue we would like to introduce you to a selection of artists working in sculpture and Installation.
Please follow the links below to go directly to the artist's portfolio on

Debbie Lawson, London
Debbie Lawson, Persian Moose, 2010 
Debbie Lawson
Persian Moose, 290 x 185 x 60cm, Antique Shiraz rugs and mixed media, 2010
Copyright the artist, courtesy of Town Hall Hotel
Debbie Lawson's carpet sculptures and furniture installations take you on a psychological journey through domestic space, where everyday things are eerily animated and the very fabric of the interior comes to life. Tinged by a collective and personal nostalgia, humdrum objects become part of a “mise en scène” created through the narrative formed by our own history and memories.
Lawson graduated from the University of East Anglia, Central Saint Martins and the Royal College of Art. Solo shows include Nine Trades of Dundee: Our House at the McManus Galleries, Dundee (forthcoming) supported by the Scottish Arts Council; Living Rooms at Nordisk Kunst Plattform, Norway, supported by the British Council; Dysfuncadelia at Nettie Horn, London; and Chairway To Heaven at The Economist Plaza, commissioned by the Contemporary Art Society. She recently completed two permanent artworks for Town Hall Hotel, London, co-commissioned and curated by Arts Admin, and her work is included in the collections of Charles Saatchi, Mario Testino and the University of the Arts London. Forthcoming shows include Contemporary Eye: Crossovers (with Jeff Koons, Gary Hume, Grayson Perry and others) at Pallant House Gallery.

Richard Stone, London
Richard Stone, the dark light and something in the bones, 2010  
Richard Stone
the dark light and something in the bones, Schwartz Gallery 2010
Black wool serge curtains (x4), topsoil (one tonne) and steel pins
Dimensions approx 110x60x4" each (x4) and 220x110x52"
Image courtesy of Schwartz Gallery
Richard Stone is based in London. His object, installation and site-specific based works have been shown at Schwartz Gallery and Beaconsfield as well as at further galleries and sites in the UK and abroad.
Stone has a distinctive approach to themes of absence, transience and death from mischievously re-casting the dimensions and structural details of gallery and site-specific spaces to recently engaging viewers as participants through the reenactment of a memorial.
Materials and found objects are also intrinsic and seductively reworked or reconfigured, these have included ornaments engulfed in ghostly auras of smooth amorphous wax, carpets unraveled and suspended, erased antique paintings and flowers photographed on the River Thames at night.
Works often appear in physical and conceptual states of metamorphosis and flux, incorporating sharp contrasts of light and dark or are interwoven with grainy expressions of solitude and stasis.
Stone’s works have been described as inherently dark and poetic in their range, oscillating in scale from the intimate to the monumental and as resonating with art historical and popular cultural references from Felix Gonzalez-Torres's conceptual work to Peter Saville’s Joy Division album covers.

Karen Henderson, London
Karen Henderson, Relief Version 4, 2010 
Karen Henderson
Relief Version 4, 2010
materials: timber, glass, skin plywood, fluorescent fabric.
dimensions: 2.03m h x 1.58m w x 57cm d
My work uses objects to question how space is claimed and occupied and I am interested in how architectural space is constructed to influence behavior.  Formally, the work references theatrical props which occupy space provisionally and challenge the idea of an authentic spatial identity.  I am interested in how objects can complicate how a space is read and projects have proposed interventions where the work’s integration with a space is deliberately precarious and tentative.  The intention is to complicate the expectations of the viewer through proposing questions about what is framed and on display and their participation in generating how the work is read.  Current work has been informed by research into visual strategies for spatial occupation including camouflage, dummy objects and decoys as strategies of design which are intended to complicate how an object in an environmen t is recognised, misread or visually erased in order to understand how objects can occupy space in more tenuous and temporal ways.

Matthew Geller, New York
Matthew Geller, Open Channel Flow, 2009 
Matthew Geller
Open Channel Flow
19m x 10m x 14m
steel, water, hand-pump, light beacons
Sabine Water Pump Station and Buffalo Bayou Park, Houston, Texas, USA
By using the hand-pump one can experience a refreshing “shower” as water rains down from the showerhead 7.5 meters above. Simultaneously amber and blue beacons on top of the 19-meter structure flash, signaling people as far away as downtown Houston.
I'm particularly drawn to overlooked or underutilized environments, from private imaginary worlds within brick walls, to back alleys, to very public sprawling open spaces. Whether the work takes the form of public art, sculpture, installation, or video, it is in these environments that I tease out small fragments of narrative by augmenting or amplifying the raw materials of a given place. I ask the viewer to engage both with what was always there as well as what might be.
My public art works are playful, humorous, unexpected and accessible. They have an ability to engage a broad cross section of the public, often in situations of unusual intimacy. The works, which offer a seductive invitation to participate, support the notion that public art can build community and have a broad appeal without being what is most familiar.
In addition, I approach public art opportunities with the notion of making the site more congenial and communal for those who use it. I incorporate motion and change, and have elements that foster engagement both with the work and among the viewers themselves. The site always influences the structure and the materials such that the site itself becomes an element of the work.

Rebecca Gould, London
Rebecca Gould, 'Outlander', 2010 
Rebecca Gould
'Outlander', 2010.
Production still
Rebecca Gould works in mixed media, video and installation. “Gould’s ability to take risks and employ absurdity has enabled her practice to develop into an astute critique of contemporary culture. Gould often combines video and object, concealing the film within the sculptural form. The sculptural form functioning as an ‘in-between’ a meeting point connecting the real world to a world of fantasy. Her recent works explore the complex stream of information and images fed to us by the commercial world, tactfully drawing parallels between consumerism, escapism, fantasy and celebrity. As Gould changes her gaze and develops her practice as an artist we, her audience, are fortunate enough to see the world though her eyes, a truly unique experience that adds to our understanding of ourselves and the world around us.” (Liberty Paterson, 2010. Independent curator and assistan t curator at Gl Holtegaard, Denmark)
Gould (b. 1980) studied Sculpture at UWIC, and completed her MA Fine Art at Central Saint Martin’s, London in 2005. Gould took part in Locws 3 and has exhibited extensively in group shows throughout Wales, as well as in Denmark, Germany and Spain. She was awarded an individual artist project grant from The Arts Council of Wales in 2008. She now lives and works in London.

Mark Houghton, Cardiff
Mark Houghton, Memory of Lemon, 2010 
Mark Houghton
Memory of Lemon, 2010
DIY exhibition
Surface Arts, Exeter
17th Sept - 16th Oct 2010
10 x 10.3 x 7meters.
The work focuses on using found, commonplace materials and objects which are incorporated into new sculptures and groupings of items. The work centre’s on the transformation of these exhausted materials, ascribing them new status by emphasising their absurdity, vacuity, or oblique social reference. The aim is to liberate them from the drudgery of service, allowing them to masquerade outside their traditional norm.
These works are largely informed by an interest in the language of art and the boundaries that divide an art encounter from that of an everyday experience. Through enquiries into material, form and spatial arrangement, the work explores the displacement and reconfiguration of everyday objects and materials through installation and sculptural works.
"At the end of the fifteenth of his 'Letters on the Aesthetic Education of Mankind' Schiller states a paradox and makes a promise. He declares that ‘Man is only completely human when he plays’, and assures us that this paradox is capable ‘of bearing the whole edifice of the art of the beautiful and of the still more difficult art of living’

Russell Chater, London
Russell Chater, ‘It’s all about creating the right balance’, 09/10 
Russell Chater
‘It’s all about creating the right balance’, 09/10
MDF/glass/mixed media
Russell Chater is based in London and is a graduate of the MA Fine Art course at Central Saint Martins. The artist exhibits internationally, with exhibitions this year including: Shaping Silence at Grey Area Gallery, Brighton (curated by Roy Exley/part of the Brighton Photo Fringe) and Sorry We’re Open at Whitechapel Art Gallery/Unit 2 Gallery, London.
This recent and ongoing series of work further plays with the artist’s continued interest in shop window display and contained and staged spaces. Resulting pieces lie somewhere between minimalist art installation, empty stage set, designer interior and box of Christmas decorations. Appropriating items from the shelves of stationers; DIY merchants; jewellery stores and charity shops, these familiar assorted items are rendered ambiguous and seductive via context and juxtaposition. The works are at once cool and sophisticated, kitsch and frivolous: A Christmas bauble evokes a Kapoor; a perspex pencil case a Judd…Ultimately the works operate in the artistic tradition of everyday items re-presented in contained and magical little worlds - Cornell being an obvious exponent.

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