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Books > Arts & Architecture > History of art / art & design styles > From 1900 > Art styles, 1960 -
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Forces of Nature: Renwick Invitational 2020 (Paperback)
Loot Price: R320
Discovery Miles 3 200
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Forces of Nature: Renwick Invitational 2020 (Paperback)
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List price R745
Loot Price R320
Discovery Miles 3 200
You Save R425 (57%)
Expected to ship within 9 - 15 working days
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Forces of Nature: Renwick Invitational 2020 features artists Lauren
Fensterstock, Timothy Horn, Debora Moore, and Rowland Ricketts.
Nature provides a way for these invited artists to ask what it
means to be human in a world increasingly chaotic and divorced from
our physical landscape. Representing craft media from fiber to
mosaic to glass and metals, these artists approach the long history
of art's engagement with the natural world through unconventional
and highly personal perspectives. Forces of Nature: Renwick
Invitational 2020 is the ninth installment of the Renwick
Invitational. Established in 2000, this biennial showcase
highlights midcareer and emerging makers who are deserving of wider
national recognition.The featured artists work in a wide variety of
media, from Lauren Fensterstock, who creates detailed, large-scale
installations using intensive modes of making drawn from the
decorative arts, including paper quilling and mosaic, and from whom
SAAM has commissioned a site-specific work--inspired in part by the
illustrated renaissance German manuscript The Book of Miracles
---that will transform an entire gallery at the Renwick, to Timothy
Horn, who creates exaggerated adornments that combine natural and
constructed worlds, taking inspiration from objects as varied as
baroque jewellery patterns and Victorian era detailed studies of
lichen, coral, and seaweed, from bronze and glass, as well as
unusual materials like crystalized rock sugar, to evoke the
extravagant Amber Room in the Catherine the Great's palace of
Tsarskoye Selo; and from Debora Moore, known for her exquisitely
detailed glass renderings of orchids, and who is represented in
this volume in her new series, Arboria (2018), in which Moore
focuses less on realism and more on capturing an intensely personal
experience of beauty and wonder, to Rowland Ricketts who creates
immersive installations using handwoven and hand-dyed cloth,
starting on his farm, where he cultivates the indigo plants he uses
to colour his artwork, fully linking his material and process with
the finished product. Participatory engagement from non-artists,
forms a major part of Rickett's work, emphasizing the relationship
between nature, culture, the passage of time, and everyday life.
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