The Shape of Things

The Shape of Things

13 September - 29 September 2012

The Shape of Things celebrates a dialogue between art and design showcasing a selection of artists who transform structures, objects and furniture.

Jane Goodwin - Livia Marin - Stuart Redler - Charlotte Squire - Wycliffe Stutchbury

In conjunction with the London Design Festival 2012, The Shape of Things includes a range of work, from collages and drawings in thread depicting iconic twentieth century furniture, to fractured, melting china which reference notions of originality and replication in a history of ceramic design. Black and white photographs of diligently designed objects no longer in use; bizarre and beautiful lights made of the constitute elements of old lamps, tables and chairs; and wall based abstract works made from wooden chips from de-constructed chairs, barns and other structures. These thoughtful and perceptive artworks explore the reciprocal relationship not only between art and design, functionality and aesthetics, but also creativity and transformation.

Jane Goodwin has created a series of works on paper that respond to iconic twentieth century chairs, exploring the sculptural qualities of the chair, but their perceived personalities. Jane’s attraction to chairs is based on their role as functional sculptures; it is impossible to lose sight of the fact that their common purpose is to support people whilst sitting. While viewed in their everyday environment some chairs can be taken for granted; the very clever and beautiful are significant and enduring objects. In her thread collages of the Iconic Chair Suite, Jane engages with classic forms, varied use of materials and bold colours, echoing the iconic designs of twentieth century furniture. Chairs by Arne Jacobson, Le Corbusier, George Nelson, Vernon Panton and Gunter Beltig amongst others, have instructed her work. Jane’s sculpture of a woman built into an old kitchen chair bridges two elements of her practice; thread based collages and sculpture. Jane’s large fibreglass sculptures of anonymous city traders, have previously been exhibited at jaggedart. Jane lives and works in London and Barcelona.

Livia Marin transforms readymade crockery, altering the scale and placement of their forms and decorative patterns, to create small-scale sculptural objects that explore questions about value and culture. Her works are often displayed in series evoking comparisons to the mass production of objects . Livia questions the notions of originality, while highlighting the beauty and individuality of her unique pieces. In the series Nomad Patterns, it is not the contents of the broken sections of gravy boats or sugar bowls which spill out onto the plinth, but the ceramic works themselves which pool and pour outwards like a Surrealist timepiece. Interpreted from traditional Chinese designs, Thomas Minton’s willow patterns decorate the crockery. Livia takes these designs and reapplies them by hand; dispersing them over the large fragments of crockery. Patterns undulate over the ceramic curves, sometimes sparsely applied, in other areas overlaid so heavily that the white porcelain is almost completely obscured. In the series of collages Nature Morte, Livia stitches gold thread over photographic still lifes. As an archaeologist is obliged to omit missing fragments of a retrieved object, in Livia’s works she uses the gold thread to absent sections of the ceramics and glassware. Livia is a Chilean artist who lives and works in London and exhibited with jaggedart at PINTA, The Modern and Contemporary Latin American Art Show, 2012.

A sense of the past is evoked in Stuart Redler’s black and white photographs of individual objects found at his late father’s farm. The equipment and tools have been thoughtfully designed with function prevailing over form. Worn away at a certain point, blunted then re-sharpened over decades, splitting and re-oiled these objects have garnered their own histories through use. Heavy use and wear over the sixty years that John Redler ran Hyde Farm as a dairy farm in