Clare Woods
Page 1 | Biography
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 enamel and oil on aluminium, 200×280 cm, 78.7×110.2 ins Image © Clare Woods “/>
Clare Woods, Black Vomit, 2008
enamel and oil on aluminium, 200×280 cm, 78.7×110.2 ins
Image © Clare Woods
- Clare Woods, Black Vomit, 2008
enamel and oil on aluminium, 200×280 cm, 78.7×110.2 ins
Image © Clare Woods
- enamel and oil on aluminium, 200×280 cm, 78.7×110.2 ins
Image © Clare Woods
“>Clare Woods, Bleeding Cross, 2008
enamel and oil on aluminium, 200×280 cm, 78.7×110.2 ins
Image © Clare Woods
- enamel and oil on aluminium, 200×280 cm, 78.7×110.2 ins
Image © Clare Woods
“>Clare Woods, Cold Garden, 2008
enamel and oil on aluminium, 200×280 cm, 78.7×110.2 ins
Image © Clare Woods
- enamel and oil on aluminium, 274×732 cm, 107.9×288.2 ins, (6 panels)
Image © Clare Woods
“>Clare Woods, Monster Field, 2008
enamel and oil on aluminium, 274×732 cm, 107.9×288.2 ins, (6 panels)
Image © Clare Woods
- September 5 – October 4, 2008
Image © Clare Woods
“>Clare Woods, Monster Field, Installation view, Modern Art
September 5 – October 4, 2008
Image © Clare Woods
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guardian.co.uk
Jessica Lack
Wednesday 24 September 2008
Jessica Lack explores the world of Clare Woods, whose landscapes explore dirty, strangled nature fighting its way through murky backgrounds
The landscapes of Clare Woods are about as far removed from the sublime as you can possibly get. She is not interested in green, undulating hills or craggy mountain vistas; her world is that of the undergrowth.
Not the fertile brush of a wood or the thick ferns of a forest glade but the scrubby bracken that swallows up those neglected black holes of urban planning. The coarse scruff hedging its way through the gates of an abandoned building, nettles suffocating the life from a silted window.
Many of the paintings are made from photographs, which explains the strange, semi-abstract quality of the images. She often takes the pictures at night, pointing the camera into dense undergrowth and using a flashgun. The results are anything but comely, as emaciated pines and gnarled vegetation fight for attention against black backgrounds. They are creepy, imbued with the horror of a thriller, and have that uncanny combination of the pedestrian and the supernatural, at once as enchanting as the dense thicket around Sleeping Beauty's castle and as spine-chilling as the Blair Witch Project.
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Clare Woods
London
United Kingdom
Europe
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Web Links
Martin Asbaek Galerie
Buchmann Galerie
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