Exhibitions & Projects

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    Heywood & Condie, The Greenhouse AK Purkiss

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    Heywood & Condie, The Greenhouse, 2015 AK Purkiss

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    Heywood & Condie, The Greenhouse, (Detail) A K Purkiss

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    Tabatha Andrews, Disturbance, 2016 AK Purkiss

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    Tabatha Andrews, Oracle, 2000-2016, Disturbance, 2016 AK Purkiss

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    Tabatha Andrews, Listening Object, Disturbance, AK Purkiss

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    Tabatha Andrews, Oracle, 2000-2016, Disturbance, 2016 Listening Object, 2014 AK Purkiss

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    Tabatha Andrews, Oracle 2000 detail of speaker sounding

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    Tabatha Andrews, Oracle 2000 detail of speaker sounding

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    Heywood & Condie MRBS, The Postnatural Garden of Unearthly Delights, 2016 AK Purkiss

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    Heywood & Condie MRBS, The Postnatural Garden of Unearthly Delights, 2016 (Detail) AK Purkiss

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    Heywood & Condie MRBS, The Postnatural Garden of Unearthly Delights, 2016 (Detail) AK Purkiss

ALTERED STATES

9 June 2016 - 26 August 2016
RBS Galleries: 9 June - 26 August

RBS Galleries: Wednesday to Friday 12.30 – 5.30pm (or by appointment)

Artists' Talk: Wed 6 July 2016 | Doors open at 6.30pm, talk starts at 7pm

The Royal British Society of Sculptors is delighted to announce Altered States, an exhibition exploring perception and sensory interpretation through immersive installation and sculptural form. The exhibition will include work by Tabatha Andrews and Horticultural installation artists Heywood & Condie. MRBS

Tabatha Andrews’ work unsettles the hierarchy of the senses, bypassing sight to give precedence to touch and hearing.  Her work visualises energy, yet its minimal aesthetic allows the viewer to transfer focus to other underrated or underused senses. In stark contrast, Heywood & Condie bombard the eye with a carnival of colours and strange forms in their horticultural installations which provide a means of processing our dysfunctional relationship with nature.

Heywood and Condie’s The Greenhouse (2015) has travelled directly from Jerwood Gallery in Hastings and is constructed from salvaged 18th and 19th Century stained glass. The artists reconfigured the original Christian imagery to create part animal/part plant/part insect beings inhabiting a primitive world of chimeras, mythical creatures and folkloric hybrids. Once inside, the greenhouse’s function as a sanctuary and space for introspection is magnified, the world of stained glass chimeras reflected endlessly in its infinity floor.  It is a place to contemplate the symbols and patterns that humans have used to celebrate the cycle of life, and to transcend the everyday. 

Andrews’ work, in the Salon gallery, invites participation: her Listening Objects (2014-16) are wearable micro-installations which alter perceptions of sound, space and time both inside and outside the body, acting as both a place of escape and a place of intense reflection.  Oracle (2000-16), meanwhile, utters the sound of an engine starting and stopping like a voice stuttering into speech. Its vibrations make the words cut out of newspapers jump ‘like the casting of oracle bones’, as devoid of punctuation, they writhe, settle and resettle into meaningful/meaningless arrangements.The words inhabit an endless present powered by sound itself. Across the gallery, Disturbance (2016) forms a sound and light absorbing, tactile wall of recycled felt that powerfully alters the way we perceive through our eyes and ears.

Oracle’s mechanical spluttering carries into the Studio gallery as if to power Heywood & Condie’s anti-hero, a hybrid of man/machine/mineral and plant as he drags an apocalyptic assemblage through their overwhelming anti-garden installation: The Postnatural Garden of Unearthly Delights.  It is a darkly theatrical, melodramatic and all-encompassing vision that caricatures our increasingly ‘de-natured’ relationship with the natural world.  Far from the safety and peace of the traditional Arcadian landscape, the artists draw on Baktin’s idea of the carnavalesque, manipulating humour and chaos to create a dystopic rendition of the airbrushed marketing of nature consumed digitally on a daily basis. The grossly hybridised living and the artificial is disturbingly indistinguishable: from a forest of distorted pines emerge psychedelic versions of Gong Shi, Chines scholars’ rocks, while malevolent industrial anti-nymphs stumble through the vegetation.   The artists successfully destabilise our visual perception forcing us to contemplate this total altered state. 

ALTERED STATES

Talk Tabatha AndrewsHeywood & Condie MRBS

6 July 2016 7.00 pm 2016
RBS Galleries,108 Old Brompton Road, London, SW7 3RA

A unique insight into the practice of Altered States’ artists, this talk will examine the new work on display in the RBS Galleries and Forecourt.

Tabatha Andrews is a sculptor and installation artist who works with a wide range of materials; from bronze, glass, sound, light and building debris to video projection. She is currently the RBS First@108 Public Art award winner, making sculpture for the dementia wards of Chelsea and Westminster Hospital.

Heywood & Condie describe their work as 'horticultural installation art'. Their area of interest principally concerns new ways of engaging with and representing landscape and nature. Their practice crosses many genres including land art, sculpture, horticulture, painting, video and performance, and individual works can often synthesize elements from all of these disciplines in their final realisation.

ALTERED STATES

Tabatha Andrews studied at Glasgow School of Art, Slade School of Art and the Skowhegan School of Art, Maine, USA. She was Artist in Residence at Gloucester Cathedral (2002-3), and has shown widely, making work for ROOM artspace London (2015), KARST Plymouth (2015), STATION in Bristol, the Forest of Dean Sculpture Trust, Plymouth Art Centre, and the Centre for Contemporary Art in the Natural World, Exeter.  She is currently the RBS  First@108 Public Art award winner, making sculpture for the dementia wards of Chelsea and Westminster Hospital.

ALTERED STATES

Heywood & Condie describe their work as 'horticultural installation art'. Their area of interest principally concerns new ways of engaging with and representing landscape and nature. They have exhibited in the UK and internationally, including The Pastoral Noir, Wood Street Galleries, Pittsburgh (2016); The Gardener, Jerwood Gallery, Hastings (2015); The Majesty, Old Vic Tunnels, London (2012); Glamourland, Berkeley Square, London (2011); Hostaland, Vienna Botanic Garden, Austria (2011) and Sparkle, London Tate Britain (2006).