| THE ECONOMIST presented by Contemporary Art Society |
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10 April - 27 May 2001
Seaton's installations vary according to the nature and size of the site in which they are constructed and re-constructed. The site and its contents become part of the installation, its scale and function automatically colouring, and being coloured by the work. These miniature cities dramatise the way we experience space, using illusions of scale and depth to tap into the imaginary dimension of our most basic perceptions. Seaton is a recent MA graduation of Wimbledon School of Art and has had a solo installation at London's, Chisenhale Gallery. Following his show at The Economist he will go on to show at Hales Gallery in South-East London. Elizabeth Wright
The objects that Wright represents through the creation of her sculptures share common reference in that they are all mass-produced consumer goods. These objects have developed a body of meanings through their collective identity, through proliferation. The introduction of a 'unique' member within these groups dislocates our relationship with the object. With Wright's works, we encounter a reproduction of a reproduction but which is an 'original'. They are the same in every way to the objects that we know except for one crucial detail, they are fractionally enlarged. Mini-Escort consists of a production-line Ford Escort XR3i placed in close proximity to an Austin Mini that has been scaled up to 130% of its actual commercial size. Wright's other works have consisted of Stolen Bicycle, 1998 where a bicycle wheel was enlarged by 165%, Pizza Delivery Moped, 1998 enlarged by 145% and B.S.A. Tour of Britain Racer, 1997 enlarged by 135%. Wright is a graduate of The Royal College of Art and Birmingham Polytechnic and has shown internationally since 1990. Mini-Escort was commissioned by the Norwich Gallery, Norwich School of Art and Design for riverside 1999
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Seaton's
work emerges from his long held interest in everyday objects, and,
more recently, their possible reference to forms of architecture
and urban landscapes. Using basic casting processes he presents
objects in new arrangements and contexts, stripping them of their
original identity and function to put them to use in new and suggestive
ways.
Elizabeth
Wright describes her sculptures as like photographs.
In their insistence of 'reality', through laborious exacting
facsimile, they confound and please in playing cleverly between
that which we perceive to be familiar and yet distant.