Elizabeth Wright

Biography

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.

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.