Press Release

OVERLAY:

Overlay//Private View 

Lillian Fawcett-Wolf

Email: theawolfart@gmail.com

Instagram : @theawolf_art

Chelsie Coates

Email: chels.coates@gmx.com

Instagram : @chelsiecoatesart

6-9pm 25th April 2019

AMP GALLERY

Maverick Projects

1 Acorn Parade

SE15 2TZ

A collaborative exhibition from two Fine Artists in their second year at Camberwell College of Arts UAL at The AMP Gallery 

Both artists look at ideas of layering both physically and metaphorically in the context of their artwork and tackle these ideas of intersectional concepts and forms through abstracted painting and mixed media.

About the artists: 

Lillian Fawcett-Wolf

Lillian describes her art as being abstract and process-based. She uses predominantly quick drying paints or inks as this gives her work a momentum and spontaneity when needed as well as the opportunity to apply multiple layers in a short time span. The process of taping and layering of paints and varnishes in several working steps varies depending on the media onto which she works on. Paper reacts distressed, canvas textured, board smooth and deliberate.

Her work is concerned with the juxtaposition of empathy and apathy to our physical or social conditions. She takes current and relatable events and communicates them in her work with the aim to evoke an emotional response or the absence of it. 

Her interest in “physical dislocation” however derived from her dislocated shoulder, which she dedicated to her previous project. The current pieces are a development from the physical to the socially perceived dislocation and as a result, social disconnection. Disconnection is a common theme in Lillian’s work as previously she had been looking at disconnection between and within paintings and how voids create tension.

All her works are abstract with simplistic geometric or organic shapes and structures. She is strongly influenced by abstract expressionistic mood art and takes inspiration from processes by artist such as Mary Heilman, Chris Daniels, and Bridget Riley. Edgar Degas said: “Art is not what you see, but what you make others see.” She very much agrees with this thought. This is Lillian’s aim, expression, which leaves room to feel and see. Her art aims to be accessible to everyone. 

Chelsie Coates

As someone from a mixed background of Chinese-Trinidadian and British, Chelsie’s practice is greatly self-reflective, looking at her own inner struggle and sense of belonging in the world. Never feeling completely able to fit in to a specific culture, due to being mainly brought up in 1st world Britain, vs. her mother immigrating from what was a 3rd world country until 2011, Chelsie’s work tackles internal issues of race, passing, cultural appropriation, ethics, and political correctness. 

As someone who often passes as white, her work takes recognisable Chinese articles such as the cheongsam (traditional dress) and lucky cat, and tries to push the limitations of the object in context to herself, an artist who might pass as white, or might not be deemed Chinese enough to use these pieces without causing offence to the traditions of Chinese culture. Ironically, these are also just two examples of symbols of Chinese culture that have been extensively mass-produced and westernised. 

Rather than rooting herself in material or process, Chelsie’s work centers around a concept; a continuous question and argument. This is greatly influenced by artists who’s work goes hand in hand as political statements such as Adrian Piper and Ai Wei Wei. Their work influences her to further question ideas of racial ambiguity and the internal crises it causes herself and perhaps many other mixed race people out there. 

These concepts have many points in which they overlap and intersect, thus looking at ideas of overlaying racial, political and ethical issues in the world, not only personal affecting the artist, but also that are super relevant today.

Thank you so much for coming to our exhibition,

Lillian & Chelsie