When much had been forgotten (2016)
Gallery of When much had been forgotten details, exhibition installation and studio documentation
The story behind When much had been forgotten>
Paolo di Dono, called Uccello (1397–1475):
The Hunt in the Forest (c.1465-1470)
tempera and oil, with traces of gold, on panel; 177cm x 73.3cm
The Hunt in the Forest is held in the collections of the Ashmolean Museum, Oxford.
Uccello scooped out paint from the leaves in his trees and filled these with gold leaf so that they shone in the light, so here I have included a rich gold tree. The shape of the river comes in on the right and the flat neutral-tone collage elements (top right, bottom centre, top left) introduce negative shapes from Trace, quarrying discarded material and reusing in a new way.
When much had been forgotten was first shown in Quarry at the Brocket Gallery, London in 2016.
More works from Quarry
As if peering through a gap in the trees this art work focuses on the relationship between light and dark, quarry and hunter. The colour and form of the red figure references Uccello’s practice within the late Gothic tradition and reminds us that red is the colour of fairytales, representing blood (virginity, violence, death).
As if standing in front of a green screen this mysterious figure invites us to imagine a space in which anything is possible.
Like Paolo Uccello’s Hunt in the Forest (1470), Quarry came into existence from dark to light. Uccello’s technique created a theatrical depth and drama that I wanted to capture.
In Paolo Uccello’s preparation of his wood panels for Hunt in the Forest (1470), he glued canvas over knots and scored lines into a black underlayer of paint to mark tree branches and vanishing points.
Salt is mined, extracted and evaporated. Stitching mends holes, fills in blank space. This artwork began life as the back of an unfinished needlepoint and grew into an exploration of geology and archeology.
This work started as an old needlepoint completed by an unknown sewer, that I unpicked, leaving only these trees intact. It was a way for me to look at the stage without the players.
Falling is an uncontrollable action. When we fall (over, apart, in love, asleep) we become vulnerable; quarry. Caught between spaces this figure falls headfirst and downwards.
I wanted to create a work that used just a few very strong elements to show the power of a repeated shape. I drew this grid over Uccello’s painting to reveal his mastery of perspective and as the starting point for Trace.
A walk in the woods (2016)
This conversation between Sarah Gillett and the writer Amy Lay-Pettifer digs deeper into the artist’s relationship with Paolo Uccello’s painting The Hunt in the Forest (1470) and her wider art practice.
The dogs in south London are running. One of the big ones slows down as it passes me and I step back as its nose swerves into my crotch, waving my arms as though that would make any difference. If it were really hungry it would just eat me but I get a face full of hot meaty air and it’s a lucky day.
The Quarries: Drag, Fold and Mantle (2016)
The story of a spontaneous polaroid film collaboration with the artist Luke Harby
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Joseph reaches down and picks up a shell. He hands it to the boy, who is dragging a red plastic bucket across the sand. “Here. What about this one?”
Bill assesses the offering intently. “No Daddy,” he says firmly, “It’s broken here, see.”
The two of you together (2018-2020)
In 2018 I entered the world of online dating. Quickly I began to see a pattern emerging across my matches; primarily, there were a lot of men stroking big cats. At first the photographs were merely absurd but the more I looked into this phenomenon the darker the implications of these photoshoots became. This series of drawings depicts some of my matches alongside data pulled together from a number of different dating platforms.
They all saw her. Standing on the boardwalk outside the old woman’s house, smoking.
The old woman was dying of cancer. Not from cigarettes, but still. They did not approve.
In the house, the old woman frantically peeled potatoes, scraps of skin flying everywhere, sticking to the sink, windows and her woollen clothing like a plague of starchy warts.