Senior Lecturer in Fine Art
Central Saint Martins
Central Saint Martins
Elizabeth Wright is an artist living and working in London. Exhibiting internationally since 1995, research on mimesis and the copy informs her art practice. She has been commissioned to make both temporary and permanently sited art projects, working with curators in the public realm, Locus +, Commissions East, the Tyndall Centre and with architectural practices, FAT and MUF.
Recent exhibitions include: Atelier Amden, Switzerland, the Museum für Gegenwartskunst, Siegen, Germany and the Joan Miró Foundation Barcelona. Since 2014, she has worked with artist and CSM, MA Fine Art Course Leader, Louisa Minkin on ‘Annihilation’ a pedagogical project, researching how current 2D digital archaeological capture methods can be utilized within 3D modelling platforms. Staged at the Tate Exchange January 2017 and at the Lethaby Gallery in March 2017, Annihilation Event invited a contrary group of artists, archivists, archaeologists, historians, technical experts and theorists from all over Europe to bring their objects, machines, speculative processes and performances into constellation.
Copy, Mimesis, Digital Materialities, Radical Pedagogy.
In part, artistic practices attribute value to processes that can be broadly grouped into the categories of mimesis, the copy and copying. The means by which this is articulated within the development of digital reproductive workflows is the focus of my work. This involves making both physical and digital sculptures based on the use of everyday technical objects and how they inform our relationship to occupied living space. The object selection is secondary to site, where relative location is the priority.
The means and nature of production are dependent on 'local surroundings’ using methods more often concerned with photographic documentary inscription and objective non-intervention. The techniques of photographic image construction: copy, scale, crop, focus and angle of view are reapplied to the encountering of the digital or physical site and the re-rendering of the object. This point of site /object intersection is the centre of my enquiry, as the copy becomes both evolutionary and dynamic, articulating new apparatus and methods for disseminating sculpture.
Commissions and awards: Public projects
2012 ‘Wick Lane And Fish Island’, permanently sited work, one of the 4 Olympic gateways, commissioned by Thames Gateway.
2010 ‘What’s My Story’, Swiss Cottage Library, London.
2005 ‘Space Travel’, commissioned by Nexus the Passenger Transport Executive for Tyne and Wear and Locus +.
2004 ‘Norwich Lido’, Residency at the Tyndall Centre for Climate Change Research, University of East Anglia and site specific project in Norwich. Residency at Wysing Arts, Cambridgeshire.
2002 Arts for Architecture Award, H.M.P Grendon.
2000 Nominated for Becks Futures, ICA London.
1998 London Electronic Arts and London Film Makers Co-operative commissioned, London Electronic Art Gallery, Lux Gallery, London.
1994 Rachel Whiteread / K foundation Award
2015 Kurzmeyer, Roman –Aterlier Amden
2014 Mörsh, Stephan - ‘What Models Can Do’
2013 Kurzmyer, Roman; Schmidt, Eva- ‘At Work’
2011 Swiss Cottage Library – ‘Shelf’
2006 Platform – ‘Platform’
2005 Beach, Dave – ‘Space Travel’
Norwich Gallery - ‘Norwich Lido’
Hayward Gallery Publishing – ‘Size Matters: Exploring Scale in the Arts Council Collection’
2004 Fitzmaurice, Leo and Gabie, Neville – ‘Furthermore’
2003 Drummond, Bill -‘Further in the air’
Ellis, Patricia – ‘New Labour’
The British Council – ‘Multiplication’
McLaren, Duncan –‘A Public Auction of Private Art Works’
2001 Bush, Kate – Mini, Escort
Williams, Gilda – Becks Futures
Kurzmeyer, Roman – Model Experience
1997 Curtis, Penelope – ‘At one remove’
1996 Kurzmeyer, Roman – ‘Three rooms for Julie Bondeli’
Codognato, Mario – ‘British Artists in Rome’
1995 Barrett, David - ‘Life is elsewhere’
Muir, Gregor; Roberts, James – ‘General Release’
Wright, Elizabeth A (2017) From the Life to the Locked Room: applying the Chaîne Opératoire to the pedagogy of the copy. Journal of Visual Art Practice, 15 (2-3). pp. 245-260. ISSN 1470-2029 (In Press)