Artists in Residence 20/21 announced
24 July 2020
We are delighted to announce the results of our recent Artist In Residence 20/21 Opportunity. The chosen artists are: Tim Patrick, Daniel Harris and William Alexander.
The artists were selected from a high volume of submissions made during the month long Open Call earlier this year, which attracted both UK based and international entries.
Tim Patrick: Trinity Buoy Wharf Artist in Residence August 2020- January 2021
"Much of my work revolves around place - working in situ and allowing to subject to be discovered as a process of painting. To me, being immersed in the light and colours of an environment has become crucial to my approach to painting. It is like a process of self-emptying - allowing yourself to be led by looking.
I love interiors; the spaces and rooms we live and move through. Seeing how surrounds are transfigured by a change of light and passage of time throughout a day; corners, places of transition and passage, are all aspects of a place that are both familiar and overlooked, and yet when held as the subject of a painting, are transformed and elevated.
I’m interested in artists throughout art history who worked from life, from direct observation - George Bellows and Manet, to Liu Xiaodong. Having initially studied in Florence, and the Royal Drawing School, my interests and passions whilst rooted in the tradition and craft of painting, are firmly located in the present. For me, it is about a meditation of what it is to live in relation to our surrounds, in reframing the human traces of an environment."
Daniel Harris: Trinity Buoy Wharf Artist in Residence January 2021- June 2021
"I started building the London Cloth Co in 2011 with one 1920’s loom; since then the mill has gone on to encompass over 45 tons or carefully restored machinery dating 1870 to 1980, while simultaneously designing and weaving fabrics for brands both large and small throughout the world. Our work has been diverse: fashion, interiors, art, replicating period cloths and bringing to life fabrics from the future for numerous films.
Since its conception there has been an emphasis on education, transparency and sustainability, each year while in London received hundreds of visitors to the mill for tours & workshops from throughout the UK and the world. The London Cloth company is currently the only place in the UK where you can see the entire history of mechanised weaving in one place and I think it is important that people can access this in a way. Now in 2020 we are working to re-establish the textile recovery & recycling industry in the UK that has diminished over the last 50 years. Over the last 3 years I have gone on to work with numerous mills and museums in the UK in a consultation capacity on a broad spectrum of projects but mainly training and improve visitor experience"
William Alexander: Trinity Buoy Wharf Artist in Residence August 2020- January 2021
"My work over the past decade comprises of surreal painting and a kind of cardboard engineering which results in sculpture and performance. Painting is a continuous practice for me while the cardboard engineering is project based and usually site specific. Yet in both I like to explore space, structure and form. My painting is definened by strong colour change, while in the cardboard work it remains monochrome. My painting is generally looser, combining abstract, figurative, gestural states. Allowing large degrees of evolution during the painting process. Subject matter includes surreal playgrounds, ecological threat, 1950s Americana.
The Cardboard projects were initially inspired by Guy Deboard’s society of the spectacle and were intended to create a subtle intervention into everyday life. They took the form of simulacras of modes of transport, and have been more precisely planned in the making than my paintings. Works of note include a Tram in Zurich, where people boarded and walked the tram lines, a Venetian Gondola which I took to Venice Biennale in 2017, and icecreamvanman, which toured London, and New York. The final pieces are very lifelike in scale and appearence engaging the viewer with a unique moment of material inquisitiveness, and social interaction. With Reinventing The Wheel, a 2 metre diameter tractor tyre I moved into pure sculpture, though the material inquisitiveness was kept as the illusion of inflated cardboard was created."