|dc.description||A series of large, flamboyant paper sculptures exploring fantasy and irrationality in architectural and sculptural form.
The research scrutinised and drew parallels between representations of architecture in renaissance painting; botanical form (via Karl Blossfeldt’s photography); architectural ornamentation in the V&A’s plaster cast collection and the architecture of London; the forms of chess pieces; the techniques of dress-making; and fantasy and absurdity in literature (e.g. Lewis Carroll).
Production of sculpture involved synthesizing forms from these sources, using a process of ‘exquiste corpse’ to subvert preconception and sense. Construction involved complex technical drawings, maquettes, and the innovation of a technique using dyed, cut and folded paper to create structurally rigid forms.
The sculptures represent “an escape valve for unspent energy, an opportunity for frivolity and untrammelled aspiration… a desire for the exotic, a longing to be elsewhere” (Benedict Carpenter). The title ‘Travesty’ acknowledges their schizophrenic nature, mimicking and mocking ostentatious architectural form, exploring a “seeming substance, substance of seeming” (Steven Connor).
Production was funded through the London Arts Board Awards for Individual Artists Scheme (£976)
Solo exhibition at Henry Peacock Gallery included 2 large sculptures and four maquettes. The gallery produced a catalogue, with a commissioned essay exploring the significance of the work by Benedict Carpenter.
'Travesty 1' was included in the exhibition 'Made in England', Gallerie Maronie, Kyoto, June 2003, with colour brochure with artist’s text.
'Travesty 1 - 4' were included, by the gallery’s invitation, in the 2 person exhibition 'Silent Inhabitants' at Kunsthalle Arbon, Switzerland, June / July 2006, with (£1300) funding from the Kunsthalle, a publicly funded regional gallery. The exhibition contrasted four 'Travesty' sculptures with paintings by Rachel Lumsden, investigating a shared interest in how we inhabit, decorate and furnish the world.
The sculptures were Featured in 'Art Review', vol.11, Oct, 2001 p47||en