Rebecca Wilson, Lyndsay Rice and Myung Urso at Alight 2019
Exhibition
/
26 Jan 2019
-
22 Feb 2019
Published: 14.12.2018
Royal Scottish Academy
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visualartsscotland.org

Alight 2019 is presented by Visual Arts Scotland.
Visual Art Scotland explores the regions where art-forms crossover and through their open submission format exhibition they select work which demonstrates conceptual thinking and innovation, as well as outstanding design and craftsmanship. VAS represents artists from all fine and applied art disciplines and seeks to explore the middle ground between the two with its diverse and varied annual exhibition.
Artist list
Lyndsay Rice, Myung Urso, Rebecca Wilson
Drawing inspiration from the confectionary industry Rebecca Wilson’s collections aim to glamorise the simple pleasures in life. The full spectrum of sweet treats from fruit chews and lollies, to cakes and pastries piled with cream and icing, are distilled down to their simplest forms and matched with a sickly sweet colour palette. The Swizzel series takes inspiration directly from the confectionaries of her childhood, and also from a lifelong obsession with 'how it's made' process videos of factory production. Pastel colours and pure forms are distilled down to a repetitive simplicity that speaks of the efficiency of the factory production line. Pleasingly palm-sized, pseudo-functional silver rimmed sherbet bowls in pastel coloured porcelain recreate specific iconic sherbet treats from her childhood. This body of work continues to address the themes of the conflict of value and function, and of function versus anti-function, which is ever-present in Rebecca’s work. These works celebrate the simplest pleasures in life, the little indulgences that add value to our everyday. By re-embodying humble confectionaries in materials of high perceived worth, she hopes to highlight the value they bring.
Lyndsay Rice utilises forms of communication both in the natural world and in societal structures to amplify, hybridize, and alter militaristic badges and bird plumage to create a new language. In the natural world, red is the color of warning or symmetry; its relationship to poison, or the iridescence of a skin's surface, exists as an optical trick to confuse a predator. In military outfitting, colors also signify status: purple for honor, or green representing saving a life in the field. Recreating natural and military patterning through both the haptic (piercing) and digital (laser cutting) means allows Lyndsay to seamlessly incorporate various types of materials, such as plastics, leather, paper, and metal in my multilayered forms.
Myung Urso repurposes found paper ephemera such as greeting card cases and donut wrappers in her pursuit to transform plain objects from our daily life into art objects. The inspiration for this expression is derived from architecture; sculpting paper clay which provides an engaging surface while also sustaining the structure. Her interpretation of the word, Synonym, is connected to the word, transform as the actual form evolves into another shape.
Lyndsay Rice utilises forms of communication both in the natural world and in societal structures to amplify, hybridize, and alter militaristic badges and bird plumage to create a new language. In the natural world, red is the color of warning or symmetry; its relationship to poison, or the iridescence of a skin's surface, exists as an optical trick to confuse a predator. In military outfitting, colors also signify status: purple for honor, or green representing saving a life in the field. Recreating natural and military patterning through both the haptic (piercing) and digital (laser cutting) means allows Lyndsay to seamlessly incorporate various types of materials, such as plastics, leather, paper, and metal in my multilayered forms.
Myung Urso repurposes found paper ephemera such as greeting card cases and donut wrappers in her pursuit to transform plain objects from our daily life into art objects. The inspiration for this expression is derived from architecture; sculpting paper clay which provides an engaging surface while also sustaining the structure. Her interpretation of the word, Synonym, is connected to the word, transform as the actual form evolves into another shape.
Object: Dib Dab, 2018
Porcelain, silver, synthetic ruby.
8 x 8 x 5 cm
From series: Keep Your Powder Dry
© By the author. Read Klimt02.net Copyright.
Object: Double Dip, 2017
Porcelain, silver.
8 x 8 x 6 cm
Photo by: Martin Allan Smith
From series: Keep Your Powder Dry
© By the author. Read Klimt02.net Copyright.
Necklace: Mega Pop Necklace, 2018
Porcelain, silver.
35 x 50 x 9 cm
Photo by: Susan Castillo
From series: Swizzles
© By the author. Read Klimt02.net Copyright.
Necklace: Double Pop Necklaces, 2018
Porcelain, silver.
various
Photo by: Susan Castillo
From series: Swizzles
© By the author. Read Klimt02.net Copyright.
Brooch: Synonym I, 2018
Paper pulp, silver, card case.
10 x 9 x 4 cm
© By the author. Read Klimt02.net Copyright.
Brooch: Synonym II, 2018
Oil paper, paper pulp, silver.
11 x 9 x 2 cm
Top view
© By the author. Read Klimt02.net Copyright.
Brooch: Synonym III, 2018
Oil paper, paper pulp, silver.
10 x 10 x 2 cm
© By the author. Read Klimt02.net Copyright.
Brooch: Untitled #1, 2018
Powder coat, plastic, dye, sequins, brass, steel.
From series: Honour Badge
© By the author. Read Klimt02.net Copyright.
Brooch: Untitled #4, 2017
Brass, copper, flock, acrylic, powder coat.
9 x 5 x 14 cm
From series: Honor Badge
© By the author. Read Klimt02.net Copyright.
Brooch: Untitled #8, 2018
Brass, powder coat, thread, steel, fur, acrylic.
13 x 5 x 8 cm
From series: Honor Badge
© By the author. Read Klimt02.net Copyright.
Royal Scottish Academy
- Mail:
- info
visualartsscotland.org
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