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| Vicky Wright | |
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I was born in Bolton in 1967, but spent my formative years in Liverpool, before moving to study in London in 1993. I currently live and work in London. |
| About the Artist | |
My work is coloured by my own experience, and my family, themselves heavily intertwined in the coal mining tradition of North West England, and its eventual politically engineered demise, which I witnessed through my early adulthood. My Grandmother was a very strong influence on my life and art. Her tales of working in this underworld, even while still carrying my father in the womb, continue to fill me with a fascination and awe: the inhuman conditions, the sulphurous air contaminated by heavy machinery, and the huge burden of survival made me feel that I was within a part of a lost age. Many of my works take the shape of abject bodies or, as Mikhail Bahktin spoke of in his writings on the work of French poet Rabelais, “body grotesques”. Works such as the ‘Reversion of the Beast’ imply a sense of momentary disorder. The ‘Extraction’ series of works explore the masking employed to disguise structures and routines imposed upon the people by state regimes and other economic apparatus, its repudiation, a symbolic “body grotesque” or abject body which exists to critique society, to express life and death cycles, and thus remind us of our bodily connectivity to the world in which we live. |
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Extraction 1
2007 |
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| The first work in the 'Extraction' series that explore notions of exploitation and geopolitics. This work was first shown as part of Kule Ingozi's 'Ein Grosser Schwartzer' at the Alfred Camp gallery London, and was selected for the current John Moores Prize.
‘Extraction 1‘ forms part of a series of reversed canvases that propose a hidden story, not confined to our past colonial abuses, but to an equally stark future in which Western interests operate covertly to maintain control of vast mineral wealth, obscured by almost complete silence.
Portraiture of the eighteenth century is seen by many as a golden period within British art; but for their capitalist patrons, arguably such works would not have existed. The human cost of this art seems not to be part of our consciousness. Like an unspeakable truth, or a disgraced family member.
When the Marquis de Sade refers to ‘extraction‘ he does so in terms of ‘pimps‘, or ‘libertines‘, amoral men who “extract their rents at the price of unbearable miseries“. These libertines would display their wealth unashamedly, as a symbol of wealth and perceived superiority.
Such vivid depictions of amoral exploitation are examples to some of Sade’s amorality, but equally we could see them as a depiction of the amorality concealed within the heart of the mercatile body. Like Sade’s pimps, a portrait may act as a symbol, but its purpose is a mask to obscure the character of the mercantile body.
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The Terror
2008 |
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Reversion of the Beast
2008 |
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Dreams in the Witch House
2008 |
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Descendents of the Ephemeral Skin
2008 |
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The Ephemeral Skin
2007 |
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Crucifiction
2007 |
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FOLD I (Silence Spoken)
2007-8 |
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| This is the first work in the 'FOLD' series, which has developed from my 'Extraction' works for Kule Ingozi's 'Ein Grosser Schwartzer at the Alfred Camp gallery London.
The 'FOLD' series has many interpretations, from the folds in the brain that locks away memories only to be released by chance occurrences, or an accident, to Deleuze’s notion of ‘folding’, or ‘doubling’ of thoughts into another.
In this work, I wanted to create a more performative work, or at least an implication of this possibility. Like the ‘Extraction’ works there is a sense of the hidden forces operating behind the scenes, or as Deleuze suggests ‘forces of the outside’.
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Der Kuppler (Pimp)
2007 |
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| A precursor to the 'Extraction' works, 'Der Kuppler', or ‘Pimp’, plays on similar themes. I came to this work, as the later ‘Extraction’ series from the point of view of Marquis de Sade definition of ‘extraction‘, in terms of ‘pimps‘, or ‘libertines‘, amoral men who “extract their rents at the price of unbearable miseries“. My initial fascination with the ‘libertines’ goes back slightly earlier though, to my discovery of a distant family connection to John Wilmot, 2nd Earl of Rochester, more poignant because of my family’s strong social links to the Unions and Socialism, which seemed totally at odds with the life of John Wilmot, and his ‘Merry Gang’. The unashamed Libertine, married into wealth to fund his debauched life, which formed the inspiration of his satirical poetry. He displayed his acquired wealth unashamedly, but not necessarily as a symbol of perceived superiority, but of dissolution. In ‘Der Kuppler’, I wanted to draw parallels with the display of amoral wealth of the ‘Libertines’ and contemporary art, creating a similarly ostentatious, and fundamentally ‘useless’ object. |
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Extraction II
2008 |
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Extraction III
2008 |
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Extraction IV
2008 |
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Der Planosphere
2008 |
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Maniae I
2008 |
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| Education and biography | |
| Initially studying textiles, completing an MA at RCA (1993), she began pursuing art in 1996. She has exhibited widely, including Whitechapel (2001), MOT London (2003), IBID Projects, London (2005) and Engholm Engelhorn, Vienna (2007). ‘Extraction 1’ was originally exhibited in ‘Ein Grosser Scwhartzer’, curated by Alfred Camp in 2007. She won the NPG BP Award 2003 and Jerwood Prize 2007, and was shortlisted for Whitechapel / Max Mara Womens’ Art Prize (2008), and currently the Sovereign Prize (2008). Her work is widely collected, including Heiner Bastian Collection, Berlin, and Michael Ringier Collection, Zurich. | |
| Future shows | |
| I will be showing new works at the M.O.T gallery in London opening 14th November 2008, and will feature in large survey of contemporary painting at the Josh Lilley Gallery in London opening January 2009. | |
| Website: www.en.artists.de/vickywright.html | |
| IF YOU ARE INTERESTED IN CONTACTING THIS ARTIST, CLICK HERE | |
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