Slade School of Fine Art

UCL

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<p>Portal (detail), 2012, rubble sacks, rubber flooring, pvc strips, metal railing, Par 64 lights x 2, light gels, 380 x 300 x 300 cm</p>

Portal (detail), 2012, rubble sacks, rubber flooring, pvc strips, metal railing, Par 64 lights x 2, light gels, 380 x 300 x 300 cm

<p>Torner Rueda (detail), 2011, mixed media, dimensions variable</p>

Torner Rueda (detail), 2011, mixed media, dimensions variable

<p>Wall drawing XI (For Alice), 2012, rubble sacks, rubber flooring, marker pen, emulsion paint, 380 x 220 x 180 cm</p>

Wall drawing XI (For Alice), 2012, rubble sacks, rubber flooring, marker pen, emulsion paint, 380 x 220 x 180 cm

<p>The Holy of Holies, 2013, scaffold tower, scaffold sheeting x 2, par 64 lights x 3, light gels, ratchets x 2, rubble sacks, rubber flooring, church chairs, 400 x 630 x 1100 cm</p>

The Holy of Holies, 2013, scaffold tower, scaffold sheeting x 2, par 64 lights x 3, light gels, ratchets x 2, rubble sacks, rubber flooring, church chairs, 400 x 630 x 1100 cm

<p>Wall drawing XVI, 2013, electrical tape, latex, rubber flooring, emulsion paint, 370 x 600 x 300 cm</p>

Wall drawing XVI, 2013, electrical tape, latex, rubber flooring, emulsion paint, 370 x 600 x 300 cm

<p>Wall drawing XXIV (For Guston), 2013, rubble sacks, rubber flooring, marker pen, emulsion paint, masking tape, 380 x 200 x 300 cm</p>

Wall drawing XXIV (For Guston), 2013, rubble sacks, rubber flooring, marker pen, emulsion paint, masking tape, 380 x 200 x 300 cm

Vanessa Maurice-Williams

Artist Statement
My practice is an exploration of urban and rural landscapes that concentrate on the physical or illusionary entrance to a space. The works take their wonky shapes from the origins of thresholds – using motifs such as bridges, gateways, stairways, portals etc that act to delineate spatial zones. I use industrial materials, which are appropriated for their plasticity, saturated bright colour and temporariness. The installations are invariably cordoned off, creating spaces that are disrupted in a buoyant yet contained manner. In cutting short the viewer's interaction by a divide, similar in value to the horizon in a painting or a fence in a field, I am creating suspense: an expectation of a performance, leading the viewer to be trapped in an in-between movement of time. My three-dimensional approach to painting contributes to current debates on the "extended field of painting", in which space, time and performance play defining roles.

www.vanessamaurice-williams.com

vcamw@hotmail.com