Polly Gould |
Polly Gould Erebus and Northern Islets 2012 silvered hand-blown glass sphere, watercolour on sandblasted glass |
> Curriculum vitae |
Exhibitions and projects at the gallery: Architecture for an Extinct Planet 2020 VOLTA NY 2017, Penguin Pool 2015, No More Elsewhere 2013, TOPOPHOBIA 2012, The Well 2004 |
Polly Gould works across media in which storytelling plays a strong part, either with performances that narrate the artworks in some way, or in the fictions and histories that inform the works. These might be sculptures in glass or fabric, sound or video works, installation pieces, drawing, watercolour, found objects or pin-boards. With an interest in collections and archives Gould has shown work in places such as the British Library, London, and Botanic Gardens in Cambridge and Sydney, and in natural history museums in Bergen, Norway and Maastricht, Netherlands, as well as showing in galleries internationally. Gould was selected for the Jerwood Drawing Prize in 2007. She has a short-story in a collection of fiction by contemporary visual artists in Britain, 2006. Polly Gould studied Fine Art at Central Saint Martins College of Art and Design, London, and has undertaken both Fine Art and Theory residencies at the Jan van Eyck Academy, Maastricht, Netherlands. She has recently completed a PhD in Art and Architecture at the Bartlett School of Architecture, University College London and is currently post-doctoral research fellow in design-led architectural research with ARC Architectural Research Collaborative, Newcastle University, UK. |
SELECTED WORKS |
Zoological Garden: Wolf |
2020 Coloured glass, magic lantern slides, copper tape and solder 33 x 33cm |
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Paper Architecture: Dent du Géant |
2020 Inkjet print on paper, thread 30 x 42cm |
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The Crystal Chain: habit/refuge |
2020 paper, inkjet print, watercolour, thread, mannequins Dimensions variable Installation view by Oskar Proctor |
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Manifesto for an Architecture of Atmospheres |
2020 Sound, wood, organdie cotton, geodesic hubs Dimensions variable Installation view by Oskar Proctor |
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Architecture for an Extinct Planet: Birds of Paradise |
2017 Coloured glass, magic lantern slides, copper tape and solder 27 x 30 x 54cm |
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Trophy |
2017 black-out fabric, thread, watercolour 20 x 20 x 9 cm |
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Monument to Folly |
2017 black-out fabric, thread, watercolour, gold leaf, wood and brass 195 x 65 x 65 cm |
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Liberty's Pedestal |
2017 black-out fabric, thread, watercolour, found wood and brass 135 x 35 x 30cm |
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Alpine Architecture: Aiguilles du Midi |
2017 pen and ink, watercolour on paper 35 x 54 cm |
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Alpine Architecture: Matterhorn |
2017 pen and ink, watercolour on paper 34.5 x 54 cm |
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Alpine Architecture: Dent du Géant |
2017 pen and ink, watercolour on paper 35 x 54.5 cm |
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The mountain Dent du Géant, part of the Mont Blanc
massif, translates as ‘Giant’s tooth’. A craggy canine cutting through
a snow-capped gum, Polly Gould’s choice of watercolour is unexpected
here. The flatness of the medium softens the mountain’s extremity, lending
the painting a dream-like quality; a climber’s mirage. In the tonal
shifts of the mountain’s greys and browns, the negative space of snow,
we almost forget what it would be like up there. The thin air and the
freezing temperature; exhaustion overridden by determination On top of the mountain sits something strange, futuristic even; a purple and yellow structure, almost half the size of the page. It is made up of individual pyramid shapes, tent-like, the translucency of the paint revealing their convergence to a central point. The nature of watercolour, with its subtleties and softness, acclimatises the viewer to the appearance of this alien structure in all its precarity, somehow managing not to tumble from view. Drawing on Bruno Taut’s conception of a utopian city in the alps, Gould presents us with her vision of refuge. A refuge not only from the elements but also, as art so often is, a refuge from the world around us - an architecture that we can duck into, removing ourselves from the ascension of our own lives, just for a moment. A tentative suggestion of utopia, balanced on the tip of a Giant’s tooth. - Tess Charnley |
Observation Hill |
2012 silvered hand-blown glass spheres, watercolour on sandblasted glass |
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Anamorphic Landscape |
2012 silvered hand-blown glass spheres, watercolour on sandblasted glass |
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Antarctic Archive |
2013 Installation view: No More Elsewhere Danielle Arnaud London 2013 |
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Lantern Landscape |
2013 Installation view: No More Elsewhere Danielle Arnaud London 2013 |
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