BECKY BEASLEY
Lake Erie from the Northwest
12th February – 3rd April 2016
INSTALLATION VIEWS:
Becky Beasley, Lake Erie from the Northwest, Installation view, Laura Bartlett Gallery, 2016
Courtesy: Laura Bartlett Gallery, London
Photography: Andy Keate, London
Laura Bartlett Gallery is pleased to present a solo show by British
artist Becky Beasley. The exhibition brings together her most recent works,
alongside a selection of key works from the last ten years and evidences
Beasley’s interest in still life and domestic design. The title, taken from a
large-scale photograph from 2010, resonates across the sculptures, objects and
photographs in the exhibition, revealing Beasley’s ongoing reflections on human
relation, viewpoint, orientation and perspective.
artist Becky Beasley. The exhibition brings together her most recent works,
alongside a selection of key works from the last ten years and evidences
Beasley’s interest in still life and domestic design. The title, taken from a
large-scale photograph from 2010, resonates across the sculptures, objects and
photographs in the exhibition, revealing Beasley’s ongoing reflections on human
relation, viewpoint, orientation and perspective.
Beasley’s interest in returning to works in order to
explore and re-work the potentials of specific elements is evident throughout
the exhibition. The
earliest work in the exhibition, The Left Door/La Dernière Porte (Athens Archive) (2004/2005), depicts a disused
storefront. Beasley originally took this image whilst living in Athens in 2004–
a period in which she accumulated her Athens Archive – only later printing
particular negatives. The negative here was reversed during the printing
process, flipping the door so that it appears to be for the left hand. This
subtle shift by the artist lends an uncanny, or sinistral, reading to what is a
familiar image, and a reminder, perhaps,
that “all the decisive blows are struck left-handed.[1]”.
This work sets up the motifs of mirroring, reversal and duplication that appear
throughout the exhibition.
explore and re-work the potentials of specific elements is evident throughout
the exhibition. The
earliest work in the exhibition, The Left Door/La Dernière Porte (Athens Archive) (2004/2005), depicts a disused
storefront. Beasley originally took this image whilst living in Athens in 2004–
a period in which she accumulated her Athens Archive – only later printing
particular negatives. The negative here was reversed during the printing
process, flipping the door so that it appears to be for the left hand. This
subtle shift by the artist lends an uncanny, or sinistral, reading to what is a
familiar image, and a reminder, perhaps,
that “all the decisive blows are struck left-handed.[1]”.
This work sets up the motifs of mirroring, reversal and duplication that appear
throughout the exhibition.
Literary Green (2009), combining sculpture and photography, is a key work in
Beasley’s practice. Inspired by the eponymous character in Herman Melville’s
1853 story, ‘Bartleby the Scrivener’, in which a ‘high green folding screen’ figures
as a way of partitioning off Bartleby’s work space, effectively hiding him from
sight. Two conjoined photographs together
produce a high-folded partition, mounted behind green acrylic glass, in front
of which, obstructing the image, sits an acrylic glass table structure with
delicate metal legs. The odd, angular shape of the tabletop is in fact a
template of the impossible interior space behind the screen in the image,
rendered in three dimensions.
Beasley’s practice. Inspired by the eponymous character in Herman Melville’s
1853 story, ‘Bartleby the Scrivener’, in which a ‘high green folding screen’ figures
as a way of partitioning off Bartleby’s work space, effectively hiding him from
sight. Two conjoined photographs together
produce a high-folded partition, mounted behind green acrylic glass, in front
of which, obstructing the image, sits an acrylic glass table structure with
delicate metal legs. The odd, angular shape of the tabletop is in fact a
template of the impossible interior space behind the screen in the image,
rendered in three dimensions.
Given (Cock & Clam) (2015), the most recent work in the exhibition, re-presents a
sculpture previously used for a series of photographs (The Outside, 2012). The work consists of a large, pale green, rhomboid-shaped
shelving structure containing two small, coupled, pearwood objects. The
sculpture revolves slowly at 1 rpm, its shelves opening and closing as its
perspective changes through the movement.
sculpture previously used for a series of photographs (The Outside, 2012). The work consists of a large, pale green, rhomboid-shaped
shelving structure containing two small, coupled, pearwood objects. The
sculpture revolves slowly at 1 rpm, its shelves opening and closing as its
perspective changes through the movement.
The ‘Given’ here refers to
Duchamp’s last work, the floor plan of the interior of the work copied and
elaborated in the cross section of the objects. Sexually charged in its
titling, it is accompanied by three small photographs, Elaborations & Extensions (2013), which depict the same
pearwood objects in various evolving couplings.
Duchamp’s last work, the floor plan of the interior of the work copied and
elaborated in the cross section of the objects. Sexually charged in its
titling, it is accompanied by three small photographs, Elaborations & Extensions (2013), which depict the same
pearwood objects in various evolving couplings.
A Man Restored a Broken
Work (2015), is an HD video in which a man’s hands are seen repairing a
damaged early woodwork by Beasley. These same hands, the artist’s partner’s,
have figured in previous works by the artist. The work references Robert
Bresson’s film, A Man Escaped, both
in the premature denouement of the title and
in its focus on process, time and
manual work. The man examines the broken pieces of each of the two parts of the
sculpture, the lid and the box –originally based on a narrow shoe box found in
Soho– and then carefully repairs each part. The two parts are never seen
together. The film ends
when the second part, the lid, has been completed.
Work (2015), is an HD video in which a man’s hands are seen repairing a
damaged early woodwork by Beasley. These same hands, the artist’s partner’s,
have figured in previous works by the artist. The work references Robert
Bresson’s film, A Man Escaped, both
in the premature denouement of the title and
in its focus on process, time and
manual work. The man examines the broken pieces of each of the two parts of the
sculpture, the lid and the box –originally based on a narrow shoe box found in
Soho– and then carefully repairs each part. The two parts are never seen
together. The film ends
when the second part, the lid, has been completed.
A Man Restored a Broken
Work is shown alongside two related photographs, Build Night (I & II) (2012), which were made
by arranging and shooting the pieces of the object that appears in the film three
years prior to its being restored.
Work is shown alongside two related photographs, Build Night (I & II) (2012), which were made
by arranging and shooting the pieces of the object that appears in the film three
years prior to its being restored.
Camera I-V (2014), presents a set of triangular black
American walnut sculptures whose exterior dimensions are based on a 1977
Penguin paperback edition of Saul Bellow’s existential novel, Dangling Man
(1944). They are exhibited on a loaned mid-century modern circular wooden
table. The table changes for each iteration of their presentation. Each of the
sculptures has a single hole the size of a small bird, or walnut, on one face
and another black, hand-lacquered face. Each sculpture has a different interior
angle, all five of which total 360º.
American walnut sculptures whose exterior dimensions are based on a 1977
Penguin paperback edition of Saul Bellow’s existential novel, Dangling Man
(1944). They are exhibited on a loaned mid-century modern circular wooden
table. The table changes for each iteration of their presentation. Each of the
sculptures has a single hole the size of a small bird, or walnut, on one face
and another black, hand-lacquered face. Each sculpture has a different interior
angle, all five of which total 360º.
The recent work, Foresight
(2015) is a set of six digital prints resembling posters for the artist’s past
few years’ exhibitions. The work sees Beasley re-examining an earlier
sculptural work, Perinde Ac Cadaver (2011),
photographically. Her writing practice is also incorporated into the work in
the form of a text which runs along the lower part of each poster. As Laura
McLean-Ferris has written in a recent catalogue:
(2015) is a set of six digital prints resembling posters for the artist’s past
few years’ exhibitions. The work sees Beasley re-examining an earlier
sculptural work, Perinde Ac Cadaver (2011),
photographically. Her writing practice is also incorporated into the work in
the form of a text which runs along the lower part of each poster. As Laura
McLean-Ferris has written in a recent catalogue:
“Beasley’s posters, though they are new, are untimely,
advertising her own past exhibitions. In the period of five years covered by
the posters, the artist fell in love and became pregnant, and each poster
includes a paragraph describing her blossoming love affair, as well as a series
of related interiors- workshops, cars, baths, houses. Beasley’s posters, which
recall her past work, suggest the secret interiors, and enormous worlds, inside
objects, rooms, artworks and artists.”[2]
advertising her own past exhibitions. In the period of five years covered by
the posters, the artist fell in love and became pregnant, and each poster
includes a paragraph describing her blossoming love affair, as well as a series
of related interiors- workshops, cars, baths, houses. Beasley’s posters, which
recall her past work, suggest the secret interiors, and enormous worlds, inside
objects, rooms, artworks and artists.”[2]
Becky Beasley (b. 1975 Portsmouth) lives and works in
St.Leonards-on-Sea. Beasley studied at Goldsmiths, University of London and the
Royal College of Art where she graduated in 2002. Selected solo exhibitions
include Skuc Gallery, Ljubljana, 2015; Laura Bartlett Gallery, London;
Francesca Minini, Milan; South London Gallery, London, all 2014; Spike Island,
Bristol and Leeds City Art Gallery, Leeds, 2012-2013; Leal Rios Foundation,
Lisbon; Tate Britain, London, both 2012. Beasley was nominated for the Contemporary Art Society Award, 2014 and
shortlisted for the Max Mara Art Prize
for Women in 2009. Her work has been included in the 31st
Biennial of Graphic Arts, Ljubjlana; De Vleeshal, Middelburg; Extra City,
Antwerp, all 2015; Leeds City Art Gallery, Leeds, 2014; Frac des Pays de la
Loire, Carquefou; Walker Art City, Liverpool, both 2013; Whitechapel Gallery,
London; Kunstverein Munich, Munich; Kusntverein Freiburg, Freiburg, all 2012; British Art Show 7: In the Days of the Comet,
touring in Nottingham, London, Glasgow and Plymouth, 2011; La Carte d’après Nature, touring in NMNM Villa Paloma, Monaco and
Matthew Marks Gallery, New York, 2010-2011.
St.Leonards-on-Sea. Beasley studied at Goldsmiths, University of London and the
Royal College of Art where she graduated in 2002. Selected solo exhibitions
include Skuc Gallery, Ljubljana, 2015; Laura Bartlett Gallery, London;
Francesca Minini, Milan; South London Gallery, London, all 2014; Spike Island,
Bristol and Leeds City Art Gallery, Leeds, 2012-2013; Leal Rios Foundation,
Lisbon; Tate Britain, London, both 2012. Beasley was nominated for the Contemporary Art Society Award, 2014 and
shortlisted for the Max Mara Art Prize
for Women in 2009. Her work has been included in the 31st
Biennial of Graphic Arts, Ljubjlana; De Vleeshal, Middelburg; Extra City,
Antwerp, all 2015; Leeds City Art Gallery, Leeds, 2014; Frac des Pays de la
Loire, Carquefou; Walker Art City, Liverpool, both 2013; Whitechapel Gallery,
London; Kunstverein Munich, Munich; Kusntverein Freiburg, Freiburg, all 2012; British Art Show 7: In the Days of the Comet,
touring in Nottingham, London, Glasgow and Plymouth, 2011; La Carte d’après Nature, touring in NMNM Villa Paloma, Monaco and
Matthew Marks Gallery, New York, 2010-2011.
[1] Walter
Benjamin, One Way Street & Other
Writings
Benjamin, One Way Street & Other
Writings
[2] Laura
McLean-Ferris, Over
You, You: Ljubljana 31st Biennial of Graphic Arts, Exhibition
catalogue
McLean-Ferris, Over
You, You: Ljubljana 31st Biennial of Graphic Arts, Exhibition
catalogue