Becky Beasley
Extensions (Elaboration No. 1), 2012
gelatin silverprint; 164.5 x 123 cm
Night Work, 2009
218 x 154cm & 80 x 165 x 40cm
matt gelatin silver print, steel, black acrylic glass
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Lake Erie from the Northwest, 2010
gelatin Silver print, 114 x 166cm
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installation view, P.A.N.O.R.A.M.A.
Office Baroque Gallery, Antwerp, 2010
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Lake Erie, 2010
MDF and steel, 91 x 30 x 73 cm
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The Great Lakes, 2010
linoleum (Laponia and Dark Bistre)
exhibition view at Office Baroque, Antwerp
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Suite (No. 1), 2007
31 x 38.3cm, matt, fibre-based gelatin silver print
Suite (No. I1), 2007
31×38.3cm, matt, fibre-based gelatin silver print
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Figure (Part VIII), 2008
selenium toned matt gelatin silver print, green acrylic glass
approx.170x107cm
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Figure (Part V), 2008
selenium toned matt gelatin silver print, brown acrylic glass
approx.120x107cm
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Figure (Part III), 2008
selenium toned matt gelatin silver print, green acrylic glass
approx. 340 x107cm
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Brocken (I; II; III; IV; V; VI; VII; VIII), 2009
black american walnut, brass, steel
installation view at Fundação Leal Rios, Lisboa
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KORREKTUR (NNW; WNW; SW; SSH; SE; ENE; NE), 2010
B/W archival inkjet on Hahnemühle photo rag 310gsm paper, archival inks, pale, yellow acrylic glass; 109x130cm (print size)
installation view at Fundação Leal Rios, Lisboa
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Given, (or One to One), 2012/13
black & wellness Green linoleum (Template of interior floorplan of Duchamp’s last work, Étant Donnés : 1° la chute d’eau / 2° le gaz
d’éclairage)
installation view at Fundação Leal Rios, Lisboa
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Steppe, 2008
iron, black acrylic glass, steel rods
57x147x6cm
Trap (II), 2010
Archival Print on Hahnemühle Photo Rag bright white 310GSM, 109cm x 135cm
installation view at Fundação Leal Rios, Lisboa
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Trough Box, 2010
oak, black glass, unique
130 x 18 x 18 and 132 x 20 x 20 cm
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Glen Herbert Gold, 2009
black American walnut, brass, green acrylic glass
147 x 57.2 x 62cm
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The Appearances of Penguins (Berlin Zoo), 2007
hand printed gloss fiber based gelatin silver print, 25 x 31,5 cm
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AUX (I) (Passive Voice), 2013
gelatin silver print, green Plexiglas
all images courtesy the artist (unless otherwise stated)
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After having deeply experimented with darkroom printing, British artist BECKY BEASLEY developed an interest in forms and use of language in relation to the photographs. For over ten years, her photographs and sculptures emphasize the complex relationship between these media and their subject matters.
BEASLEY mostly shoots her own sculptures, assemblages, and staged events and habitually conducts extensive research before setting her camera in a particular location.
These objects and photographs, as mute and minimal as they often appear, unexpectedly open onto literary worlds. Originating not only from fictional sources, but also in the objects and experiences of the everyday, the works are often imaginary abstractions, which nevertheless retain their original human dimensions. The earlier photographs are concerned with the body, typically dens and hiding places, structures which have been simply constructed out of found materials. Whether rigid or flexible, these shroud-like wrappings each propose, with a clear economy of means, the provisional transformation of two-dimensional materials and surfaces into volumes. – BECKY BEASLEY, 2011
Things are extended, questioned, designed, fabricated, photographed. The end result is a mystery environment – weaving photography, sculpture, literature and personal references.
And good news: her work is currently on view at Spike Island, Bristol until March 31, 2013 and at Lisa Cooley Gallery in New York until March 17, 2013.
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