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| Ronn Beattie | |
I have just returned to the UK after 3 years in Bahrain. There I ran a university art programme and became a founder member of 'Elham' the arts society of Bahrain. I am a practising sculptor with an active exhibitions portfolio. While in Bahrain I showed my work in the Anglican Cathedral, had a solo exhibition in a gallery in the Diplomatic area and was invited, by the XVA gallery in Dubai, to show work in the international 'Art Dubai' fair. I have previously shown regularly in London and the home counties and have sold work to collectors in Holland and Australia. My work is listed in David Buckman’s ‘Dictionary of Artists in Britain, post 1945’. |
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| 关于此艺术家 | |
My work is about the process and passage of its making and is body related from a phenomenological experiential base. I work in a variety of materials, my large scale works have recently been in carved and constructed wood and cast lead crystal glass. I have also made installations of multiple small objects cast in resin, (see website)I often incorporate 'found objects' in my work. I believe that when sculpture leaves the studio, for the gallery, its passage is completed by the viewer, who needs to contribute their own 'body ego' by adding their touch to the sculptor's. In a manner controlled by the sculptor, the viewer should have access to touch parts of the work--to engage in its physical passage of becoming, that is the content of the work, and contribute to that content, their own memories, via haptic contact with the psychologically resonant materials of the work. |
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'Flags of Hearth and Home'
2006 |
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| This first work made in Bahrain is a glance over my shoulder, remembering my children finding an old flag in the attic and hanging it out of the window, before sliding down the bannisters for tea, represented by thr fruit and grain casts at the base. |
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'Seeking Roots'
2006 |
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| The second work made in Bahrain while I was struggling to 'find my feet' and balance, in a strange new environment. Shown on exhibition in the Taib Gallery, 2007. |
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'AcropolisApocalypse'
2007 |
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| One side of this sculpture rises up (this view) like the horse of the sun chariot on the Parthenon. The other side (view 2) is lower and more skeletal suggesting one of the 4 horses of the Apoalypse. |
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'AcropolisApocalypse'
2007 |
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| One side of this sculpture rises up (first view) like the horse of the sun chariot on the Parthenon. The other side (view 2) is lower and more skeletal suggesting one of the 4 horses of the Apoalypse. |
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'Apart'
2003 |
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| A mask to express introspection and separateness, sometimes necessary within the mass of humanity. |
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'Peppered Leaf for the Leopard's spots'
2007 |
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| Spicey food is thought healthy in Bahrain, Palm trees are poisened on land that is wanted for building, resulting in sick trees dust and concrete. The perforations on this leaf are surrounded by metal washers used in construction, an unhealthy peppering. Can the Leopard change his spots. |
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'FallenRising'
2008 |
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| This work celebrates human survival, against the odds, and the ability to rise again,after brutal atrocities everywhere. The head is raised off the ground, contradicting its first appearance as a victim. 2 views |
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'FallenRising'
2008 |
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| 2nd view. This shows the work on display in the courtyard of the XVA Gallery, Dubai as part of 'Art Dubai' in March 2008. |
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'Sun(bird) Shining'
2007 |
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| Suggesting the fertility of fruit and flower, shining in the dust of Bahrain, under the surreal, procreating wings of the Sunbird.
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detail of 'Sun(bird) Shining'
2007 |
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| detail of the Sunbird |
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'The Sting is in the Tail'
2007 |
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| The tail is inset with coral, found smashed and washed up on the beach, due to massive off-shore building. The protesting arm lifts some of the detritus, a rusty metal tube with protruding rubber 'tongue', a broken light element as 'handle' Shown on exhibition in the Taib Gallery, Bahrain. |
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'The Sting is in the Tail'
2006/7 |
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| 2nd view of this work shown outside the studio before being exhibited--the work is not completed until it moves from studio to gallery. |
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'Nabeh Saleh Security'
2007 |
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| Work made from part of the roof of a security booth, etched and coloured.Palm trees in Bahrain are often poisoned to clear land for building. The dead trees are uprooted into rubbish carts. The rubbish that should go in the carts is left on the beach. The next sign of a planned new housing compound is the arrival of a wooden booth for security staff. This booth fell apart over a year of wind and sand storms before any building started. |
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'Myth'
2007 |
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| This work was exhibited as image and text. The Text is a poem by a contemporary Bahraini woman poet, The sculpture which the poet embraced extends the dialogue around the Arab view of woman, to an international. maternal and nourishing female role. Both poem and sculpture work separately but together they present a broadened concept that avoids sentimentalization. |
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'Technocrat Hand'
2000 |
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| In Art History from prehistoric times one of the earliest visual images made by human act was the cave wall image of a hand. The sign of the making hand constantly changes and migrates. |
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| 教育程度与个人自传 | |
| B.A in Sculpture and History of Art 1987 M.A in ‘Theory of Contemporary Sculpture Practice’ Goldsmiths College, London University, 1994 PhD in Theory and Practice (thesis and exhibition of work) London University of the Arts, 2000 |
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| 未来的展览 | |
| Negotiations underway to show my work, made in Bahrain, in London and Cornwall, when it is shipped back from Bahrain at the end of September 2008 | |
| 网站: www.rbt-online-sculpture.co.uk | |
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