Stitching Spaces by Sarka Darton
“The installation I am to present at Artrooms 2018 is unique. It is particular to the space of Meliā White House. For last three years of Artrooms I have been mesmerized by the public spaces of this wonderful building and pondered how I could incorporate its architectural elements and fixtures in to my art.
‘Stitching Spaces’ (the Umbrella name of the three part installation) stands on my past work and on the continuing academic and social research together with new experiences spawned from extensive travel and work in several international galleries and venues.
These involvements jointly generated new ideas and opened new opportunities for development.
‘Stitching Spaces’ is drawing inspiration from works of a number of international contemporary female artists (among others, Mona Hatoum and the sister duo of Shadia and Raja Alem) whose practice is in a conceptual field and who typically use large architectural spaces to exhibit their site specific sculptures and installations.
The new ‘Stitching Spaces’ installation I am to present in January at Art Rooms 2018 is continuing with the visual language of the previous works where the multiple oversized hand forged steel needles are being used as a metaphor for our society.
The towering steel sculptures are juxtaposed by delicate vibrant silk threads.
Delicate, colourful threads are in this case symbolic of the diversity and permeability of the environments we build and of the ever-changing time and space that we occupy.”
Šárka Darton is a Czech-born artist, whose multimedia practice explores the relationships between people, places and architecture, examining the notion of identity in the context of our occupation of ever-changing space and time. Her work is held in private and corporate collections in the UK and internationally.
Šárka studied Art and Design in SUPS Turnov, Czech Republic, specialising in stonecutting and engraving before winning an academic scholarship to study enamelling at Dresden School of Art and Design, Germany in 1987.
After a short career as a restorer of paintings and wooden sculptures at the Museum of Eastern Bohemia, Czech Republic Šárka moved to the UK in 1993 where she studied jewellery and fashion design. In 2005 she graduated from the University of Chichester with a first-class degree in Fine Art and in 2015 Šárka has been awarded MFA (Masters of Fine Art) from University of Sussex, UK.
The artist won several international awards including the over all first prize at Italian Triennale in Verona last year. In 2016 she was selected for a WAW (Woman’s Art World) project in the National Museum of Marrakesh.
Her work is held in several private collections worldwide and was exhibited in a number of prestige’s international venues, such as RCA London, Pall Mall Galleries London, The Louvre-Paris, Uffizi-Florence, Museum of Modern Art Barcelona, La Vaccarrela Gallery Rome, Pallant House Gallery Chichester, and this year 57th Venice Biennale.
Kay Aplin graduated in 1995 from Chelsea College of Art, in Public Art and Design, specialising in ceramics and glass. For over twenty years, Kay has had a successful career as an architectural ceramist, predominantly creating site-specific commissions for the public realm. During this time, she has had many commissions around the UK and internationally, producing a distinct range of artworks for public and private domains. Since 2008 she has been based in Brighton. In 2011, Kay initiated the award-winning project The Ceramic House, a pop-up gallery space, her home and living showcase of her work. Through this avenue, she has built a reputation as a curator of contemporary ceramics, with annual exhibitions featuring the work of emerging and established international ceramists. Since 2016, The Ceramic House has become a hub for collaborations between ceramics and sound art practice in partnership with sound artist Joseph Young. Together they have established a project space, In Camera, alongside an increasingly ambitious, ongoing programme involving international residencies, exhibitions, publications, film and performance events. In recent years, Kay has been developing large-scale wall-based ceramic installations for exhibition and by commission. Undertaking residencies in centres such as Guldagergaard International Ceramic Research Centre, Denmark, have allowed her the opportunity to experiment, resulting in the creation of new bodies of work. Since 2014, she has employed the practice of creating a focal piece of work for The Ceramic House exhibitions, most recently in partnership with Young, resulting in collaborative multi-disciplinary projects. Exhibitions include European Ceramic Context 2014 (Denmark), Shetland Museum and Archives, Sladmore Contemporary, Elit-Tile Triennial (Dominican Republic), Seoul Art Space Mullae (Korea) and British Ceramics Biennial 2017.
Macchina Mobile del Suono
Verona, 1979. Lives and works in Verona and in Milan. She works with photos and installations. Since her early years she has been fascinated by the shape of the spring and she is now creating various installations in Italy and abroad. The conceptual aspect is her interest in combining a focus on installation within the environment. The springs, the lightweight aluminium and plastic sheets, both flexible and mobile, are in fact, creating an on-going dialogue with the space that surrounds them, offering new ways for the public to observe and enjoy the installation. Lisa’s last mobile machines of the sound ‘Macchina mobile del suono (di) molle’ makes distant breaths of life re-emerge, which we imagine passing by in crinoline clothes. As in a spell, the sounds of the machine bring past mysteries back, old figures, otherworldly presences that gently get closer, smile and return to the dimension from which they have been summoned. The sounds produced when the machine is brushed are transcendent, enchanted, and bring us into the eternal dimension of the soul.