Andrea Meacham

 
 
 

Through immersive installations of sculpture, video, sound, textile and live performance, I explore anxieties relating to happiness, shame and failure. Wielding humour and weirdness for their capacity to unsettle, I create and sustain experiences of discomfort and unease, leaning into emotional paradoxes. The comically pathetic, awkward and silly strangeness of my artworks – where nothing is as it seems – seek to expose the dressed-up nakedness of the world in which we live, and to prise open space for newness.


Everything's Gone Green, 2020
HD video
00:03:17

Look How They Shine (detail), 2020
Cotton, chiffon, organza, polyester, velvet, tulle, beads, sequins, thread, wool, dried flowers, polymer clay, copper tube, gold chain
2190mm x 1500mm

Softer Than Satin Was the Lie (detail), 2019
Satin, cotton drill, steel rod, metal eyelets, metal chain, plastic rings, laptop, pedestal fan, latex gloves, sequins, polyester thread, siliconised stuffing, fleece, wall carpet, multi-channel video (02:21 loop), single-channel audio (02:21), nail polish, eye shadow, live performer

Monumental Flop, 2019
Copper pipe, ripstop nylon, metal-chain, carabiner, polyester thread, pedestal fan, plinth, extension cord, PVC pipe, iPhone, single-channel video (01:47 loop), single-channel audio (05:00 loop)

 
 
 
 
 
Gracia Haby

I have been collaborating with Louise Jennison since 1999, making artists’ books, collages, large-scale installations, prints, drawings, zines, and various tales. Besotted still, it appears, with paper for its adaptable, concealable, revealing nature, we use an armoury of play, the poetic and familiar too, with the intention of luring you into our A(rtists’ books) to Z(ines).

As artists and wildlife carers, our practice frequently concerns the natural world, addressing themes of conservation and biodiversity. Our home-based studio is also home to our wildlife shelter, Tiny but Wild.

I collage with words about dance for Fjord Review.

http://gracialouise.com
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