ELAINE WILSON

Corps-A-Corps

A solo exhibition at Arthouse1

Elaine Wilson’s Corps-A-Corps introduces a new body of work that explores themes around body, vigilance, combat, the gendered vision of power and control.

Wilson’s Eye-to-Claw-to Beak series of ceramic and steel watchtowers are sourced from different cultures around the world…with strategically placed viewing slots to enable constant surveillance over a 360 degree radius. Looking at these works as objects endowed with the capacity for watching become symbolic totems of control, not unlike our CCTV-society where watching gives knowledge and knowledge is power but we wonder what might be done with that. With form so closely following function, Wilson’s omniscient watchtowers radiate with sinister desire.

A link can be made to philosopher Michel Foucault’s theorization of the panopticon. This term was first given by Jeremy Bentham in the late 18th century to his design of an all-seeing tower centrally located in a prison complex so inmates would believe they were being observed at all times, even if they weren’t. Foucault saw the panopticon as widely symbolic of forms of social power that function though vision to control people.

By entangling her viewers into these refracted networks of gazes, Wilson perhaps envisions a means to redress power relations by showing there is nowhere to hide for the oppressors of women.

About the artist:

Elaine Wilson, born in Scotland, graduated Duncan of Jordanstone School of Art and Royal Academy Schools in London. She has exhibited widely in Europe and taught in Barcelona and Florence and is presently senior lecturer in Fine Art at City and Guilds of London Art School.

Much of Wilson’s work has been made from fired clay. Early in her career she was awarded a residency at the European Ceramics Work Centre in Holland followed by inclusion in an international exhibition of ceramic sculpture at Alden Biesen castle in Belgium. On her return to London a work was acquired for the South East Arts Collection

She has been included in several periodicals and publications on sculpture and ceramics; ‘Memoranda’ (2011) Luminous Books, ‘A Dartboard for Witches’, Aberystwith Art centre (2010) & most recently New Directions in Ceramics ‘From Spectacle to Trace’ by Professor Jo Dahn (2015). Arts council funded monograph ‘Mirror’ in (2010)

During a year as Norma Lipman Research Fellow in ceramic sculpture at Newcastle University she focused on the ceramic figurine exploring the contexts of romantic and stereotypical ideals of femininity. This period was followed by several group and solo exhibitions, ‘Spoiled’ Hatton gallery, Newcastle (2010) ‘Gift’ Vyner St Gallery, London (2010), Arts Fair Belgium (2012). She has also worked with and in response to several collections including Memoranda, Craft Study Centre at Farnham(2011). ‘Under the Mantle’ Forty Hall, London (2013) and ‘History in the Making’ Dorich House (2015).

Literature and the written word have been constant sources and catalysts for her ideas including the work of Bracha-Ettinger, Joan Riviera, Baudelaire and most recently the work of American poet Anne Boyer from whom she has sourced some of her titles for this current exhibition.

Sleeper. 2017, 30 x 22 x 22cm fired clays and glaze Eye-Spy. 2018. 25 x 25 x18cm Porcelain, underglaze

Eye-to Claw-to Beak. 2017, 36 x 13 x 13cm, fired clays Sentinel, Spook & Falcon : varying sizes on steel Towers

For further information, Hi-res images, or to arrange interviews please contact:Rebecca Fairman at Arthouse1.+44 (0)77131 89249 rebecca@arthouse1.co.uk

Venue: Arthouse1.Address: 45 Grange Road, Bermondsey, London SE1 3BHPrivate View: Thursday 8th November 6.30pm - 8.30pmPublic Dates: 9th November - 2nd December 2018

Opening Hours: Thursday to Sunday, 3pm - 7pm or by apptTravel: London Bridge, Borough, Bermondsey tubes

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