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Sculpture (MA)

RedBlack D. Lawrence

I am a mixed-race artist currently living and working in UK, London.

I attended a Rudolf Steiner school in West Sussex where my artistic pursuits began (2010 to 2013). I was taught intensively for two years by a wood sculptor specialising in socially engaged art, Zita Ra's work explores the shamanic and focuses on portal building. Being taught by Zita Ra was a portal experience in itself. Zita Ra has worked for many years with young people experiencing emotional and/or learning difficulties. The main framework of her research is A/r/tography and her goal is to contribute to the field of Transpedagogy.

Having completed my studies with Zita Ra I then undertook a Foundation Diploma at Kingston University (2013 to 2014). It was here that my interests in painting and drawing began to merge with sculpture.

After finishing foundation year, I attended UAL (Wimbledon) to study BA Painting. Toward the end of my first academic year, I transferred to BA sculpture where I graduated (2014 to 2017). My tutor within the sculpture department was Sarah Woodfine, her practice specialises in drawing, drawing which is sculptural. Her works are produced exclusively using pencil. Sarah’s research and work encompasses folklore, mythology and personal narratives. She encouraged my sculptural developments which explored the abject, psychology, and Afro-Caribbean religion

My time at the RCA has been challenging but very rewarding regardless of Covid-19. I would like to thank my tutors Kate Davis and Thomas J. Price for all their support! At the end of my studies at the RCA I have now specialised in drawing with acknowledgment of both Zita Ra and Sarah Woodfine as key references. 

I would also like to leave one final but big thank you to my sponsors and the RCA for gifting me with the Paul Desty Scholarship.  

My grandfather was a shaman from Jamaica belonging to Afro-Caribbean religion which includes movements such as Vodou, Obeah and Santeria. When my grandfather died, I died also. I became Black the container of Red.........

My practice responds to a personal and ancestral history through a psychological lens. The personal is political and the political is communication; I hope my practice communicates interests in identity and explores issues surrounding mental health. When I was 12 years old, I became seriously ill and was sectioned. Psychiatrists thought I had psychosis. At the heart of the work is a questing for the demonic.

The demonic cannot be overthrown or out tricked because these things are beyond the grasp of reason. The demonic exists without language because words are without essence, words are only containers alluding to the truths they seek to replace.

Paradoxically it is within this failure to untangle that we (Black and Red) hope to find.........sculpture as formless landscape/drawing as psycho-navigation. Sculpture for me is an endeavour to capture the essence of another world (Red-Abyss), to give voice to an invisible reality. A key reference in my thinking is Georges Bataille’s theory 'L'Informe', however it is important to say that I don’t consider my work to be surreal because I don’t dream. A drawing is a waking/lived reality even if invisible to this realm.

It is impossible to give life to substances (in any direct sense) within this realm that are not made of it, drawing for me is like standing upon a frozen lake where beneath the ice I observe redness. The paper is the ice and my pen an ice pick, with this tool I carve into the surface the shadows of tangible entities simmering below, this scarification exposes and amplifies mark making with sculptural intention. I am in pursuit of a sensation that can break the membrane, to move an image beyond its state of illusion and into possession (to hold a presence more than itself).

I have recently begun investing in bespoke framing, these containers are currently made entirely from blood red transparent perspex. The perspex saturates a work with a coloured hue. These sculptural devices aim to instil a distance between the viewer and the artwork (tapping into this idea of the frozen lake as mentioned above), thereby giving the drawings their own context and world to be held within.

Medium:

Khadi Extra-Large Rag Paper (400gsm), Uni-ball Eye Micro Rollerball Pen.

Size:

100 x 140 cm.

Medium:

Khadi Extra-Large Rag Paper (400gsm), Uni-ball Eye Micro Rollerball Pen.

Size:

100 x 140 cm.

Medium:

Khadi Extra-Large Rag Paper (400gsm), Uni-ball Eye Micro Rollerball Pen.

Size:

110 cm.

Medium:

Khadi Extra-Large Rag Paper (400gsm), Uni-ball Eye Micro Rollerball Pen.

Size:

110 cm.

Medium:

Khadi Extra-Large Rag Paper (400gsm), Uni-ball Eye Micro Rollerball Pen.

Size:

110 x 160 cm.

Medium:

Khadi Extra-Large Rag Paper (400gsm), Uni-ball Eye Micro Rollerball Pen, Perspex.

Size:

97 x 137 x 5.5 cm.

This work will be shown at PROXY our sculpture satellite exhibition.

Cromwell Place 23/06/21 to 27/06/21.

Please book your tickets online.........

https://cromwellplace.artsvp.co/5207f2

Medium:

Khadi Extra-Large Rag Paper (400gsm), Uni-ball Eye Micro Rollerball Pen, Perspex.

Size:

123 x 153 x 5.5 cm.
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Above are three poems, split across 4 pages. These texts are extracted diary entries which reflect upon the past and relate to the present.

They contain language which some may find offensive or upsetting.