Shelly Goldsmith has exhibited at major galleries and museums in Britain, in Europe, the USA and Japan; her work is in many notable public collections including the Victoria & Albert Museum; Nottingham Castle Museum and the Whitworth Museum - most recently acquired for the Haberdashers' Livery Company, London.
She was awarded the prestigious Jerwood Prize and recently awarded an Honorable Mention in the 11th London International Creative Award.
‘Goldsmith is amongst the foremost textile artists working in the UK at the present time’.
Prof. Lesley Millar MBE
Goldsmith exhibited in the international group show ‘Art_Textiles’ at The Whitworth, Manchester (attracting 105,500+ visitors), new work will be shown in the forthcoming exhibition ‘Lost & Lucidity’, California.
Goldsmith regularly contributes to conferences and seminars, most recently ‘A Matter of Material’ Symposium at the Turner Contemporary, Margate and at Tate Modern seminar to accompany Richard Tuttle’s Turbine Hall installation. Other notable seminars are ‘Enfolded Meanings’ at the National Gallery and ‘Threads of Feeling’, at the Foundling Museum.
Goldsmith is Reader in Textiles at the University for the Creative Arts, UK. She has authored/co-authored articles for magazines, catalogues and book chapters and her work is extensively featured and cited in textile books/publications.
My research specifically addresses the use of textiles, cloth and clothing as a rich landscape for expression and provocation – a vehicle to explore and communicate complex ideas in a fine art context. Guided by Edmund Locard’s Exchange Principle, where he states ‘every contact leaves a trace’. I have endeavor to make visible perceived memory and experience in everyday clothing. My work seeks to investigate, explore and present knowledge whilst provoking thinking on a series of levels, from contemporary scientific and psychological thinking to craft skills - this is supported by rigorous partnerships with professionals from the world of Forensic Science (Dr. Alison Fendly) and Psychiatry (Dr. Herminia Hernaiz-Sanders) and a depth of contextual understanding.
We are all intimately familiar with the physicality and materiality of clothing, the fine yet powerful veneer of cloth which covers our body for the vast majority of our lives has become the vehicle or ‘space’ in which I explore and present complex ideas. My most recent work explores the ‘imprint’ of our lives and thoughts on the garments we wear – making visible perceived psychological emotions thoughts and memories. The relationship of cloth and photography, object and image has been a fundamental and experimental element of my work. Work is explored through a range of textile media, drawing and photography, presented in a gallery context.
Title: the choreography of unpacking oneself
What do I do when I arrive in a hotel room ?
I unpack my bags, hang up my clothes. I lay a dress out on the bed; fold and stack shirts in the bottom of the wardrobe; I hang a dress on the back of the bathroom door. I populate the room with the garments I have chosen to wear whilst away from home.
My proposal is to present my work - textile pieces, photographs, drawings and limited edition prints, (all life size renditions of garments or actual garments, reworked, over printed, drawn on or manipulated) as an installation which resembles the choreography of what I describe above, as the unpacking of me, the unpacking of my suitcase when I arrive in a hotel room. Elements of these actions are universal as we attempt to make ourselves comfortable in this new space. It is my aim that this installation will resonate with the audience and draw them in to take a closer look. Looking past the object as garment will reveal the ideas and concepts which they are imbued with.
I aim to present
(1) framed and unframed textile pieces; limited edition prints and drawings within an installation context, using the hotel room format as a space to situate the work to maximise concepts that support the work. I will make use of the structures/furniture in the room to display the items so that they can be viewed effectively,
(2) a range of artwork that offers the opportunity to view and purchase work ranging from small to substantial and across a wide price range,
(3) work that is visually and intellectually stimulating, aiming for the work to spark contemplation around the themes which support my practice.
I would be available with the exhibit to answer questions, expand upon ideas and methods used in the work shown.