Oona Grimes |
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Coming soon! murd : chapter one take two 2020 |
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You’re lured in spite of yourself, in spite of not knowing what the shady characters and disjointed hieroglyphics represent... Isn’t this what Grimes is seeking - a way to notate a reality that can’t be determined or resolved through narrative or catharsis? — Cherry Smyth My drawings are a celebration of the absurd, a transformation of ordinary objects and a simmering consommé of fact and fiction, an ongoing series of parallel worlds. They are an investigation into language, beginnings and ends of it, learning and losing it, neurological case studies, Alzheimer’s, slippage and mis-memory. Clay is the in-between bit—the instinctive making-ness that fills in the gaps. Now tanglehead has nothing to say to brickface. Characters once locked in the personalities of hierarchical position must change as the power of speech is lost. —Cherry Smyth Grimes is currently a Visiting Lecturer at the Royal College of Art London & The Ruskin School of Art Oxford University. In 2018 she was the Bridget Riley Fellow at the British School at Rome and in 2023 she was elected as a Royal Academician.
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>I am alive you are dead - 3D virtual exhibition | |
> Curriculum vitae | |
> Press | |
> Artist website | |
> Exhibitions at the gallery: Hail the new Etruscan no #4 2021, A bird in the head 2017, chapter Two 2014, Glass Cat 2014, So That I May Come Back 2010, Riddle me 2008, Conversations with Angels 2007, Love Story 2004, Cutting Room 2000 |
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SELECTED WORKS | |
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Etruscan Puppets #3 | |
2021 pencil, spray paint Á collage on paper 52.5 x 47cm | |
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Etruscan Puppets #23 | |
2021 pencil, spray paint Á collage on paper 52.5 x 47cm | |
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Etruscan Puppets #29 | |
2021 pencil, spray paint Á collage on paper 52.5 x 47cm | |
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the chorus #14 | |
2019 clay dimensions variable | |
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the chorus #16 | |
2019 clay dimensions variable | |
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the chorus #17 | |
2019 clay dimensions variable | |
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roman sKandals | |
2018 spray paint, coloured pencil and collage on paper 75 x 110cm | |
Oona Grimes’ roman sKandals is one of eleven works in her ragazze
e ragazzi Romani series, ‘a giant storyboard’ of stencil drawings
referencing Italian neorealist cinema, born out of Grimes’ Bridget
Riley Fellowship at the British School of Rome last year. roman
sKandals exists in a space of dreamlike hyper-femininity. The work
is spare but it is the richness of Grimes’ gestures, drawn, cut,
spray-painted and collaged, that plays with the viewer’s imagination.
All we need is the fluid line cutting from ear to lip, a jawline
strong and smooth, for us to fill in the flesh. Anouk Aimee’s character
Madalena from Fellini’s La Dolce Vita is traced here and we see
her caught in Grimes’ still, the giveaway of her movement is a reverberation
of lines haloing the crests of her hair. Grimes’ fine white lines against the paper’s chalky black underpin the drawing and imbibe us with the nostalgia that comes with watching and re-watching black and white films. But it is the fluorescence of Madalena’s eyebrows and the gradient of pink to red oozing out of the cigarette holder that nods to the contemporary relevance of Italian cinema. We are reminded that it is films like La Dolce Vita, with their charming amalgamation of sensuousness, wit and furore, that comprise the foundations of the twenty-first century neon that has seeped into the most classical of cities. Toying with the idea of patchwork here, the work is suspended between the fluid and trancelike and the staccato interjections of a surprising intruder into an otherwise yawning dream. Patches of pink and purple flatten the fabric that is seemingly about to be emblazoned by a crinkled cigarette; a square of hair extends beyond the frame; a patch bridges the contrast between the nose’s fill and the cheek’s negative space. roman sKandals becomes a tapestry of sorts, riffing off the patched editing in these post-war Italian films. The work, although flat, is tetris-like and we navigate its surreal game, rotating Grimes’ references to rebuild the drawing in our own interpretation. |
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angelo del fango | |
2018 spray paint, coloured pencil and collage on paper 75 x 110cm | |
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U.eU. and Umberto d's boxset | |
2018 i.phone and 16mm rushes install - min i.pad | |
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a spritz of grrrls #7 | |
2018 coloured pencil 210 x 297mm | |
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the children #5 | |
2018 coloured pencil 210 x 297mm | |
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Toes n toast | |
2014 ceramic edition of 3 photograph by Oskar Proctor | |
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Eye things flat | |
2015 clay photograph by Peter White | |
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Skinner's pigeons | |
2015 clay photograph by Peter White | |
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Flann's architectural digest #6 | |
2015 spray paint on paper mounted on di-bond 75 x 111 cm | |
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Flann's architectural digest #12 | |
2015 spray paint on paper mounted on di-bond 75 x 111 cm | |
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Flann's architectural digest #17 | |
2015 spray paint on paper mounted on di-bond 75 x 111 cm | |
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Jerry's lunch | |
2014 clay photograph by Oskar Proctor | |
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a choir of potatoes | |
2014 clay photograph by Oskar Proctor | |
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The dress-me-up | |
2013 | |
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Hackney Harpoon | |
2013 | |
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Who let the dogs out | |
2011 | |
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So that I may come back | |
2010 | |
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Framing Identity | |
2010 | |
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Rose-Red Empire | |
2009 | |
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ddd | |
2007 | |
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ccc | |
2007 | |
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aaa | |
2007 | |
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Endless Landscape | |
Collaboration with Jo Stockham, 2007, etching, 16.25 x 9cm each box of 20 etchings | |
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a.... is | |
2006, book and individual prints | |
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ha_hg | |
2006, etching and collage, 76 x 117cm | |
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s.o.s. | |
2005, etching and collage | |
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n(h).... | |
2004, etching and letraset on layered Japanese tissue, 45 x 50cm | |
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How Clever of God | |
2004/03, ink, gouache and letraset on paper, 56 x 76cm | |
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Bligh's Bounty Box | |
2003, hand bound book of 20 etchings, 26 x 74.5cm(box and cover) | |
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from a to z | |
2003, etching and letraset on Japanese tissue | |
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Disturbed Earth | |
2002, etching and gouache, 19 x 24 (24 x 19) cm | |
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Cutting Room | |
1999/2000, felt pen and ink | |
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Downfall | |
1998, etching and gouache, 255 x 52cm | |
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Beasty Wild Things Down the Chimney | |
1996, etching and gouache, 77 x 133cm | |